CD1
1. Dig It
2. Let s Be Buddies
3. While the Music Plays On
4. Three at a Table for Two
5. Between Friends
6. Broomstreet
7. Barbara Allen
8. Celery Stalks at Midnight
9. Amapola
10. Easy as Pie
11. Booglie Wooglie Piggy
12. Beau Night in Hotchkiss Corners
13. Alexander the Swoose (Half Swan-Half Goose)
14. Made up My Mind               play           
15. Keep Cool, Fool               play  
16. Sentimental Journey
17. My Dreams Are Getting Better All the Time
18. He s Home for a Little While
19. Tain t Me
20. I ll Always Be With You
21. Red Kiss on a Blue Letter

CD 2
1. Till the End of Time
2. He ll Have to Cross the Atlantic (To Get to the Pacific)
3. I d Rather Be With You
4. Come to Baby, Do!
5. Aren t You Glad You re You
6. Last Time I Saw You
7. We ll Be Together Again
8. You Won t Be Satisfied (Until You Break My Heart)
9. In the Moon Mist
10. Day by Day
11. (Ah Yes) There s Good Blues Tonight
12. All Through the Day
13. Deevil, Devil, Divil
14. I Got the Sun in the Morning         play
15. My Number One Dream Come True        play
16. Whole World Is Singing My Song
17. Are You Still in Love With Me
18. Sooner or Later
19. You Should Have Told Me
20. Christmas Song
21. It Could Happen to Sou

Doris Day - Vocals
Eddie Bailey - Trumpet
Carl Berg - Trumpet
Joe Bogart - Trumpet
Don Boyd - Trombone
Randy Brooks - Trumpet
Les Brown - Clarinet, Composer, Primary Artist
Stumpy Brown - Trombone
Warren Brown - Trombone
Ronnie Chase - Trombone
Jeff Clarkson - Piano
Warren Covington - Trombone
Mark Douglas - Sax (Alto)
Bill Forman - Trombone
Bobby Gibbons 	- Guitar
Dick Gould - Trombone
Charlie Green - Bass
Bob Higgins - Trumpet
Don Jacoby - Trumpet
Eddy Julian - Drums
Ray Klein - Trombone
John Knepper - Bass
Bob Leininger - Bass
Ray Linn - Trumpet
Steve Madrick - Sax (Alto)
Kenny Miesel - Trombone
Abe Most - Sax (Alto), Vocals
Al Muller - Trumpet
Dick Noel - Trombone
Don Paladino - Trumpet
Joe Petroni - Guitar
Nick Riviello - Sax (Baritone), Sax (Tenor)
LaVerne Rowe - Trumpet
Billy Rowland - Piano
Ed Scherr - Sax (Baritone), Sax (Soprano), Sax (Tenor)
Dick Shanahan - Drums
Butch Stone -Clarinet, Sax (Alto), Sax (Baritone)
Wolfie Tannenbaum - Sax (Tenor)
Bob Thorne - Trumpet
George Weidler - Sax (Alto)
Hy White - Guitar
Si Zentner - Trombone
Jimmy Zito - Trumpet

Forty-two songs cut between November 1940 and August 1946, and the perfect companion to Bear Family's It's Magic box set -- anyone who's been even tempted to own that will have to get this more modestly priced precursor to that material. Day's period singing with Les Brown is, today, regarded with a degree of love and affection reserved for Ella Fitzgerald's era with Chick Webb, or Frank Sinatra's work with Harry James and Tommy Dorsey. Yet Sony Music's own releases devoted to Doris Day and Les Brown spread the music around to several different CDs, and suffered from sound that, today, seems substandard. These newly remastered tracks, offered in chronological order, including one previously unissued song ("Are You Still in Love with Me"), not only display a far richer, warmer sound, but have been presented with the kind of care that is normally reserved for the best parts of a label's catalog -- which these sides definitely are. Day's voice during this period (she was 16 when she cut her first sides with Brown) was an astonishingly expressive instrument. Anyone who thinks that 42 songs is more than they want simply hasn't heard her darkly emotive rendition of "When the Music Plays On," or the playful "Three at a Table with You," her jaunty "Broomstreet," or her gossamer enunciation (highlighted by some lovely high notes) on "Between Friends" -- the arrangements and the performances have the texture of the most finely spun silk. The hits are here, of course, but there's hardly a song on hand that doesn't deserve a hearing 50-odd years later. The notes by Joseph Laredo are also lively and informative. ~ Bruce Eder, All Music Guide

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1.The More I See You
2.At Last
3.Come to Baby Do
4.I Had the Craziest Dream / I Don't Want to Walk without You
5.I'll Never Smile Again
6.I'm Beginning to See the Light
7.I Remember You
8.Serenade in Blue
9.It Could Happen to You
10.It's Been A Long Long Time
11.Sentimental Journey

Doris Day – vocals
Mort Garson – conductor, arranger

Probably nobody knew when Columbia Records released Doris Day's Sentimental Journey in 1965 that it would be her last album of new material (not counting The Love Album, which she recorded in 1967 but which went unreleased until 1995). The singer was only in her early forties, after all, and if she hadn't sold many records lately, she remained a big movie star and her record contract had a while to run. Nevertheless, if she had to have a swan song, this was the right one. Day began her career as a big band singer with Les Brown in the 1940s, and this collection brought her full circle, presenting 11 songs copyrighted between 1940 and 1945 that were hits either for Brown or his competitors. Day, of course, knew the material backwards and forwards, and she sang it with complete assurance, as well as with a mature sensibility that savored the dreamy sentiments and the long-lined melodies. She seemed to take particular pleasure in claiming songs associated with other female singers of the era, making her own such standards as "I Had the Craziest Dream," "I Don't Want to Walk Without You," and "I Remember You" (all of which were hits for Harry James as sung by Helen Forrest), as well as "I'm Beginning to See the Light" and "It's Been a Long, Long Time" (James hits sung by Kitty Kallen) and "It Could Happen to You" (a hit for Jo Stafford). No doubt she had occasion to perform many of these songs on the Brown bandstand. The proceedings ended appropriately with her big Brown hit, "Sentimental Journey," the song that really launched her career and that, here, essentially closed out one aspect of it. --- William Ruhlmann, AllMusic Review

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01. A Guy Is A Guy
02. Quiet Night Of Quiet Stars
03. Singin' In The Rain
04. Ready, Willing And Able
05. It's Magic
06. Shanghai (Why Did I Tell You I Was Going To)
07. The Black Hills Of Dakota
08. Teacher's Pet
09. Secret Love
10. Tea For Two
11. Again
12. Perhaps, Perhaps, Perhaps
13. Slightly Out Of Tune (Desafino)
14. Moonlight Bay
15. If I Give My Heart To You

As a young girl, Doris dreamed of becoming a dancer. She started taking dance lessons when she was 6 years old. A car accident when she was 13 injured her leg, preventing her from pursuing this goal. As with the saying "When one door closes, another one opens," Doris became interested in singing after the accident. Ella Fitzgerald and Benny Goodman were some of her influences. Under the guidance of Grace Raine, a voice coach, Doris began to improve and develop her own style of singing.,/

She later adapted the stage name "Doris Day," the surname derived from the title of a song ("Day After Day") that won her a spot on a radio station. At 17, she briefly became the vocalist of Bob Crosby and the Bobcats before joining Les Brown's band. It was with Brown's band that Doris began to attract attention. With hits like "My Dreams Are Getting Better All the Time" and "Sentimental Journey," Doris eventually signed under Columbia Records and became one of the most sought after band vocalists of her time. --- musiced.about.com

Urodzona jako Doris Mary Ann Kappelhoff, przyszła gwiazda karierę rozpoczynała jako tancerka. Jednakże poważny wypadek samochodowy zakończył jej marzenia o zostaniu primabaleriną. Za namową matki Doris zaczęła szkolić swój głos i już w wieku 14 lat została dostrzeżona przez pracowników lokalnej stacji radiowej, którzy umożliwili jej debiut na antenie. Krótko po tym dziewczyna poznała muzyka Barneya Rappa. To on namówił ją do zmiany nazwiska proponując zamiast Kappelhoff krótsze i bardziej swojsko brzmiące „Day”. W 1947 roku Doris Day podpisała kontrakt z wytwórnią fonograficzną Columbia Records, dla której nagrała takie przeboje jak „Love Somebody”, „Secret Love” i „Que sera, sera”. Rok później popularna już piosenkarka debiutuje na dużym ekranie rolą w musicalu „Romans na pełnym morzu”. Tam po raz pierwszy widzowie usłyszeli jedną z najpopularniejszych piosenek w jej karierze, „It’s Magic”. Zarówno ta kompozycja, jak i sam film uczyniły Doris Day jedną z najpopularniejszych aktorek Hollywood.

W latach 50. wystąpiła w kilkunastu produkcjach, wśród których obok musicali znalazły się również dramaty. Dekadę później była już gwiazdą romantycznych komedii, w których partnerowali jej najwspanialsi ekranowi amanci: Cary Grant, James Garner, Rod Taylor i Rock Hudson. W roku 1960 Doris Day otrzymała nominację do Oscara® w kategorii najlepsza aktorka za kreację w filmie „Telefon towarzyski”. W kwietniu 1968 roku nagle zmarł trzeci mąż aktorki – menadżer i producent Marty Melcher. W wyniku nietrafionych inwestycji męża Doris Day pozostaje praktycznie bez pieniędzy, co jednak jej nie załamuje. Szybko odzyskuje swoją dawną pozycję dzięki popularnemu programowi telewizyjnemu „The Doris Day Show”. ---filmweb.pl

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1.    Quiet Nights of Quiet Stars (Corcovado)
2.    Fly Me to the Moon (In Other Words)
3.    Meditation
4.    Dansero
5.    Summer Has Gone
6.    How Insensitive (Insensatez)
7.    Slightly Out of Tune (Desafinado)
8.    Our Day Will Come
9.    Be True to Me (Sabor A Mi)
10.    Perhaps, Perhaps, Perhaps (Quizas, Quizas, Quizas)
11.    Be Mine Tonight (Noche De Ronda)
12.    Por Favor

Doris Day - vocals
Mort Garson – arranger, conductor

"Latin for Lovers" is magnificent. The marriage of Miss Day's perfect voice and phrasing -- shimmering, wistful, dusky and longing -- with cool bossa nova rhythms and warm latinesque guitar and strings is no less than celestial. It is no exaggeration to say that this album confirms Day's position as one of the peerless vocalists of all time. ---Kronprinz, amazon.com

Latin for Lovers was Doris’s final studio album for her long-time label Columbia. It was recorded during the 2-9 November 1964. The remaining two years of Doris’s record contract were filled with occasional trips to cut singles relating to her film commitments.

This LP is brimming with seductive rhythms that exploit the sultry side of Ms. Day. It is “lounge” music at its best and music that still sounds contemporary. Four songs are also written by the pioneer of bossa-nova music – Antonio Carlos Jobim (who wrote many hits for non-Latin artists Peggy Lee, Ella Fitzgerald and Frank Sinatra). All in all the whole concept really suits Doris’s vocal style and you even get to hear her utter a few words in Spanish on Be Mine Tonight.

The song Perhaps, Perhaps, Perhaps was notably given a new lease of life when it appeared in the soundtrack to Baz Luhrmann’s cult ball-room dancing movie Strictly Ballroom. As a result of this invaluable exposure the CD sales of this particular LP exceeded all other re-issues! --- dorisdaytribute.com

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CD1:
01 – On Moonlight Bay (with The Norman Luboff Choir, Paul Weston & His Orchestra)
02 – Till We Meet Again
03 – It Had to Be You (with Paul Weston & His Orchestra)
04 – I’ll See You in My Dreams (with The Norman Luboff Choir)
05 – It’s Magic [78rpm Version] (with Percy Faith & His Orchestra)
06 – By the Light of the Silv’ry Moon (with Paul Weston & His Orchestra, The Norman Luboff Choir)
07 – Secret Love
08 – I Speak to the Stars [from Lucky Me] (Leith Stevens & His Orchestra)
09 – Love Me or Leave Me [Album Version]
10 – At Sundown [Album Version]
11 – Shaking the Blues Away [Album Version]
12 – Whatever Will Be, Will Be (Que Sera, Sera) [Single Version] (with Frank DeVol & His Orchestra)
13 – Pillow Talk [Album Version] (Orchestra conducted by Jack Marshall)
14 – My Romance [Album Version]
15 – Little Girl Blue

CD2:
01 – Easy to Love [Album Version] (with Frank De Vol & His Orchestra)
02 – Imagination [78rpm Version]
03 – You Go to My Head [78rpm Version]
04 – Don’t Take Your Love from Me [Album Version] (with Paul Weston & His Music from Hollywood)
05 – But Beautiful [Album Version] (with Paul Weston & His Music from Hollywood)
06 – The Song Is You [Album Version] (with Paul Weston & His Music from Hollywood)
07 – Our Love Is Here to Stay [Album Version] (with Frank De Vol & His Orchestra)
08 – Oh, But I Do
09 – Here We Go Again (with Jim Harbert & His Orchestra)
10 – Fools Rush In (Where Angels Fear to Tread) (with Andre Previn and The Andre Previn Trio)
11 – In Love in Vain (with Andre Previn and The Andre Previn Trio)
12 – With a Smile and a Song [Album Version] (with Jimmy Joyce & His Children’s Chorus, Arranged and Conducted by
13 – Desafinado (Slightly Out of Tune)
14 – Perhaps, Perhaps, Perhaps (Quizas, Quizas, Quizas)

In conjunction with Turner Classic Movies (TCM), With a Smile and a Song presents 30 examples of Doris Day during her popular peak, which is the dozen-year period from the early '50s to the mid-'60s, when she was lighting up the silver screen as well as the charts. Compared to earlier double-length collections (including the one to beat, Golden Girl: Columbia Recordings 1944-1966), this one focuses less on her big-band beginnings and commercial hits, with more time spent on songs from the great American composers and the songs she sang in movies. (Day helped out with the compilation of With a Smile and a Song, which can explain many of the differences.) Of course, there's a spot for her best-loved hit, "Whatever Will Be, Will Be (Que Sera, Sera)," as well as "Pillow Talk" and "Secret Love" and "By the Light of the Silv'ry Moon." Unlike previous sets, though, this one values her work on the great vocal standards: "You Go to My Head," "My Romance," "Fools Rush In," "But Beautiful," "Our Love Is Here to Stay," "Love Me or Leave Me," and "It Had to Be You." Although it's always valuable to hear how well Doris Day sang during the '40s, with Les Brown and others, this collection offers as much as any other to show how Day became one of the best and best-loved vocalists of the 20th century. --- John Bush, Rovi

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1. Silver Bells
2. I'll Be Home for Christmas
3. Snowfall
4. Toyland
5. Let it Snow! Let it Snow! Let it Snow!
6. Be A Child At Christmas Time
7. Winter Wonderland
8. The Christmas Song (Chestnuts Roasting On An Open Fire)
9. Christmas Present
10. Have Yourself A Merry Little Christmas
11. The Christmas Waltz
12. White Christmas

Doris Day – vocals
Frank De Vol And His Orchestra
Dudley C. "Pete" King – conductor
James K. "Jim" Harbert - conductor

Christmas can perhaps be considered the most romantic holiday of the year (celebrants woo it weeks in advance, whereas Valentine's Day is more of a romantic interruption), and listening to The Doris Day Christmas Album, it sure feels that way. Some may find her voice unseasonably sultry but, at their core, many Christmas songs are really love songs (both love of hearth and that other kind). After all, "Let It Snow! Let It Snow! Let It Snow!" isn't really about snow at all; Day sets listeners straight on that subject with a smoldering version that ranks among the most honest interpretations of the song's real intent. Likewise, she doesn't gloss over the intrinsic sadness of many Yuletide songs; "I'll Be Home for Christmas" paints the picture of home and hearth so vividly that you begin to understand that, as sad as missing Christmas with family might be, the person singing really can conjure up the surroundings by memory in a pinch. Perhaps the album's saddest moment occurs with "Toyland," as Day sings in a dreamy, faraway voice of a magical land that invites a self-assessment of what is lost in becoming "grown up." It's not a depressing record by any means, but it is more of an "adult" Christmas album. Her versions of "Have Yourself a Merry Little Christmas" and "Silver Bells" are very good, aided throughout by excellent arrangements (no cheesy cut-rate band orchestras here; these guys are the real McCoy). If "The Christmas Song" and "White Christmas" aren't showstoppers, they're pleasant all the same. The extended introduction to "Winter Wonderland" is a nice touch, and Day's version of the little-known "Christmas Present" is a timely reminder that a person's presence is more important than their presents. While Doris Day isn't a singer as closely associated with Christmas as Nat "King" Cole, Perry Como, or Bing Crosby, The Doris Day Christmas Album is a good addition to any Yuletide collection. Like an extra log on the fire, putting this on will heat up your holidays nicely. –Dave Connoly, AllMusic Review

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01 Whatever Will Be Will Be (Que Sera Sera)
02 Move over Darling
03 The Deadwood Stage
04 Pillow Talk
05 Everybody Loves A Lover
06 Teacher's Pet
07 Sugarbush (With Frankie Laine)
08 I'll Never Stop Loving You
09 Bewitched
10 Ready, Willing and Able
11 Secret Love
12 It's Magic
13 Black Hills of Dakota
14 Just Blew In From The Windy City
15 Let's Walk That-a-way (With Johnnie Ray)
16 Love Me or Leave Me
17 By The Light Of The Silvery Moon
18 If I Give My Heart To You
19 April In Paris
20 Sentimental Journey
21 When I Fall in Love  
22 A Bushel and a Peck

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01. Show Time, Pt.1 (Joe Lubin) - 3:05
02. I Got The Sun In The Morning (From "Annie Get Your Gun") (Irving Berlin) - 3:48
03. Ohio (From "Wonderful Town") (Betty Comden/Adolph Green/Leonard Bernstein) - 3:03
04. I Love Paris (From "Can Can") (Cole Porter) - 3:10										play
05. When I'm Not Near The Boy I Love (From "Finian's Rainbow") (E.Y.Harburg/Burton Lane) - 2:35
06. People Will Say We're In Love (From "Oklahoma") (Oscar Hammerstein II/Richard Rodgers) - 2:52
07. I've Grown Accustomed To His Face (From "My Fair Lady") (Alan Jay Lerner/Frederick Loewe) - 3:12
08. The Surrey With The Fringe On Top (From "Oklahoma") (Oscar Hammerstein II/Richard Rodgers) - 2:44
09. They Say It's Wonderful (From "Annie Get Your Gun") (Irving Berlin) - 2:58				play
10. A Wonderful Guy (From "South Pacific") (Oscar Hammerstein II/Richard Rodgers) - 2:13
11. On The Street Where You Live (From "My Fair Lady") (Alan Jay Lerner/Frederick Loewe) - 2:57
12. The Sound Of Music (From "The Sound Of Music") (Oscar Hammerstein II/Richard Rodgers)/Show Time, Pt.2 (Joe Lubin) - 3:23

Personnel:
- Doris Day - vocals
- Orchestra conducted by Axel Stordahl

Doris Day broke her usual recording pattern in 1960 and recorded a second album for release during the year, following What Every Girl Should Know. While other pop singers regularly turned out two or three LPs a year, Day had kept to a strict one-album-a-year schedule, while focusing primarily on her movie career. By 1960, that had made her one of Hollywood's biggest stars and largely irrelevant in the record racks. So, not only did she up her output, she also took on a prestigious project, an album of Broadway musical standards conducted by the estimable Axel Stordahl. That should have made for a disc that was a cut above Day's usual, but somehow it didn't happen. The problem was not with the material, which came from the pens of Irving Berlin, Rodgers & Hammerstein, Lerner & Loewe, and Cole Porter, and from such shows as Oklahoma!, Annie Get Your Gun, My Fair Lady, and The Sound of Music. Nor were Stordahl's sympathetic arrangements, which cast the songs in a pop context, at fault. The weak element in the project was Day herself.

A perfectly agreeable and professional singer whose background was in the creamy, near-phonetic style of big band vocalists, Day arrived at the recording studio without any preparation to act out the songs in the way their lyrics called for. Whether she was proclaiming herself in love with a wonderful guy or lamenting that she'd grown accustomed to his face, she never imbued the songs with an ounce of real feeling, and these songs, especially the ones by Berlin and Rodgers & Hammerstein, demand that at a minimum. At her best, double-tracked during "Ohio," Day brought her usual sweetness to her interpretation. But most of the time she sounded like she was carefully singing the phone book. --- William Ruhlmann, allmusic.com

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1. Whatever Will Be, Will Be (Que sera, sera)
2. Perhaps, Perhaps, Perhaps (quizas, quizas, quizas)
3. Move Over Darling
4. Pillow Talk
5. Teacher's Pet
6. Bewitched
7. When I fall In Love
8. It's Magic
9. Lullaby Of Broadway (second recording)
10. Secret Love
11. The Deadwood Stage
12. The Black Hills Of Dakota
13. A Very Precious Love
14. Everybody Loves A Lover
15. Love Me Or Leave Me
16. Fly Me To The Moon
17. Dream A Little Dream Of Me
18. Close Your Eyes (version from Duet album with Andre Previn)
19. You'll Never Walk Alone
20. Sentimental Journey
21. Medley: Secret Love/Who Will Buy/The 59th Street Bridge Song (Feelin' Groovy)
22. The Way We Were

When Doris Day essentially retired from showbiz in the early 70s (to concentrate on her animal welfare campaigning), she had already been out of fashion for a couple of decades – but it wasn’t always so. When Doris Mary Anne von Kappelhoff chose her stage name she went for the rather plain-sounding ‘Doris Day’, after the song, “Day After Day”, which she performed in the early stages of her career. Doris was forever to be the clean-cut, innocent blonde singer and actress - later even dubbed “the world's oldest virgin. But she was also dearly loved by her public.

Despite her fame as an actress, Doris started her career as a singer and this 22-track compilation captures essentially two sides of her repertoire: the earlier Swing/Big Band material and the later pop/easy Listening material.

The CD opens with Doris’ signature track, the Oscar-winning classic “Whatever Will Be, Will Be (Que Sera, Sera)”, a song that she was so reluctant to record initially. Other classics follow with “Perhaps, Perhaps, Perhaps” which was given a new lease of life in Baz Luhrmann’s film Strictly Ballroom, “Pillow Talk” from the film of the same title co-staring her long-term friend Rock Hudson and “Move Over Darling”, co-written by her son Terry Melcher (who produced such classics as The Byrds’ “Mr Tambourine Man” and “Turn, Turn, Turn”). So far so good - but by the time you get to “Teacher’s Pet”, the title track of her 1958 film, you are in for a saccharine overdose and cringe-worthy lyrics.

It’s the older swing tracks that stand out and show the lesser-known side of Doris, like “Lullabye of Broadway”, “Sentimental Journey”, “Secret Love” and “The Deadwood Stage”, the latter two from the 1953 film Calamity Jane. She may lack sex (and camp) appeal but when talking about the Magic Of Doris Day then it’s the older material that fits this description.

For Doris aficionados two previously unreleased tracks have been included, these being the most recent work here: The medley “Secret Love/ Who Will Buy/ The 59th Street Song” is a winner; however her version of “The Way We Were” can’t compete with that of America’s other great singer/actress, Barbra Streisand. ---Ilka Schlockermann, bbc.co.uk

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