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When Sunny Gets Blue

"When Sunny Gets Blue" is a jazz standard with music composed by Marvin Fisher and lyrics written by Jack Segal, first released on November 5, 1956, by Johnny Mathis accompanied by Ray Conniff and His Orchestra.^[1] The song's melancholic theme of lost love, depicted through metaphors of rainy weather and emotional desolation, has made it a staple in jazz repertoire since its debut.^[2] Its enduring popularity is evidenced by over 100 recorded covers by prominent artists, including Nat King Cole in 1957, June Christy with Pete Rugolo's orchestra in 1957, and Sarah Vaughan in 1965.^[3] Instrumental interpretations have further elevated its status, such as Kenny Dorham's 1960 trumpet-led version, Stan Kenton's orchestral arrangement that same year, and McCoy Tyner's piano feature on his 1963 album Today and Tomorrow.^[3] Later renditions span genres and eras, from Dexter Gordon's 1980 saxophone performance to Norah Jones's 2022 demo release, underscoring the composition's versatility and timeless appeal in both vocal and jazz contexts.^[3]

Composition

Songwriters

Marvin Fisher (1916–1993) was an American songwriter renowned for composing jazz standards, including the music for "When Sunny Gets Blue" and "Destination Moon," the latter of which was notably recorded by Dinah Washington in 1962.^[4]^[5] Born on September 26, 1916, in New York City, Fisher was the son of Tin Pan Alley composer Fred Fisher and grew up in a musical family that included his siblings, songwriter Doris Fisher and brother Dan Fisher, who co-wrote hits such as "Good Morning Heartache."^[6]^[7] After his father's death in 1942, Marvin and Dan took over the family publishing company, Fred Fisher Music Co., where Marvin served as West Coast representative before founding his own subsidiary.^[4] Fisher also worked as an arranger and contributed to numerous popular songs throughout his career.^[6] Jack Segal (1918–2005), who provided the lyrics for "When Sunny Gets Blue," was an American pianist, lyricist, and composer best known for his work on standards like "Scarlet Ribbons (For Her Hair)," a 1949 hit recorded by The Browns in 1959.^[8] Born on October 19, 1918, in Minneapolis, Minnesota, Segal earned a bachelor's degree in political science from the University of Wisconsin and a master's from the New School for Social Research in New York, before pursuing music professionally.^[8] His other notable contributions include the lyrics for "When Joanna Loved Me," popularized by Frank Sinatra in 1964, and co-writing "May I Come In?" with Fisher, which served as the title track for Blossom Dearie's 1964 album.^[9] Segal's compositions often blended jazz and pop sensibilities, reflecting his background as a performer and educator in New York.^[10] Fisher and Segal collaborated on "When Sunny Gets Blue" in 1956, with Fisher composing the music and Segal writing the lyrics, creating a melancholic ballad suited to the era's vocal jazz style.^[3] The song debuted in a recording by Johnny Mathis with Ray Conniff and His Orchestra that year.^[3]

Lyrics and Musical Structure

"When Sunny Gets Blue" explores themes of romantic melancholy and emotional transformation through its poignant lyrics, which personify the character Sunny's shift from joy to sorrow and back, using weather metaphors to convey inner turmoil. The opening lines depict her descent into sadness—"When Sunny gets blue, her eyes get gray and cloudy / Then the rain begins to fall, pitter-patter, pitter-patter / Love is gone, so what can matter? / No sweet lover comes to call"—evoking a sense of loss and isolation without delving into a linear narrative, instead relying on evocative imagery to mirror the blues. This melancholic tone resolves in the bridge and final verses, where Sunny "sings a little song" that dispels the gloom, symbolizing resilience and renewal, as in "The sun comes out to play—hurray! / Sunny gets blue only when she has the blues."^[11]^[12] The song follows a classic 32-bar AABA form, a hallmark of many jazz standards from the Great American Songbook era, consisting of three 8-bar A sections and an 8-bar B bridge that provides contrast before returning to the A theme. Written by Marvin Fisher (music) and Jack Segal (lyrics), this structure allows for a balanced repetition of the main melody while building emotional arc through the bridge's lyrical pivot to hope. In its typical presentation, the piece is set in F major, though transpositions are common for vocalists and instruments, and unfolds at a moderate ballad tempo of around 52-70 beats per minute, emphasizing rubato phrasing to heighten expressiveness.^[13]^[14] Musically, the composition features a smooth, lyrical melody characterized by gentle chromatic descents that enhance the wistful mood, such as stepwise motion with occasional half-step shifts in the A section to mimic emotional descent. The chord progressions are piano-friendly and idiomatic to jazz, relying heavily on ii-V-I resolutions and common substitutions like 2-5-1 patterns (e.g., Gm7-C7-F in the tonic key), which create a sense of forward momentum while remaining accessible for accompaniment. These elements, combined with the form's inherent spaces after the head, provide ample opportunities for improvisation, particularly in the bridge where harmonic tension builds through chromatic third modulations, allowing performers to explore altered dominants and modal interchange. The lyrics integrate seamlessly with the music's undulating phrases and resolved cadences, evoking depth through implication rather than overt storytelling, a technique that underscores the song's enduring appeal as a vehicle for interpretive subtlety in jazz settings.^[13]^[15]

Original Recording

Production Details

The original recording of "When Sunny Gets Blue" took place on September 21, 1956, during Johnny Mathis's first session under Columbia Records' pop division, held at the CBS 30th Street Studio in New York City.^[16]^[17] This session marked a pivotal shift for Mathis, who had previously recorded a jazz-oriented debut album, as it introduced him to the label's commercial pop framework. Key personnel included Mathis on vocals, backed by Ray Conniff and His Orchestra, with production handled by Mitch Miller and Al Ham.^[18]^[19] Conniff's arrangement featured lush orchestral swells that supported Mathis's smooth baritone, incorporating subtle jazz inflections amid a predominantly vocal pop structure.^[18] The track's duration was 2:40, capturing a concise yet emotive performance.^[18] Creative tensions arose during the session, as Mathis, rooted in jazz traditions, felt discomfort with Miller's directive pop-oriented style, which emphasized strict rhythmic adherence over improvisational freedom.^[20] Miller reportedly guided Mathis closely, even physically prompting him to "stay on the beat" without "slipping and sliding," highlighting the producer's push toward accessible pop appeal despite Mathis's preference for jazz phrasing.^[20]

Release and Commercial Performance

"When Sunny Gets Blue" was released on November 5, 1956, as the B-side to Johnny Mathis's debut single "Wonderful! Wonderful!" by Columbia Records, under catalog number 4-40784.^[21] Backed by Ray Conniff and his Orchestra, the single marked Mathis's entry into the recording industry during his breakthrough era.^[22] The track achieved notable commercial success, peaking at number 14 on the Billboard pop chart in early 1957 and remaining on the chart for 39 weeks, a record duration for a B-side at the time.^[22] Its strong sales helped establish Mathis's early fame as a pop vocalist, contributing to the momentum of his initial releases.^[22] The song was later included on Mathis's compilation album Johnny's Greatest Hits, released by Columbia Records on March 17, 1958.^[23] The album reached number one on the Billboard Top Pop Albums chart, where it held the position for three weeks and remained on the chart for a total of 490 weeks, underscoring the enduring commercial appeal of Mathis's early work including "When Sunny Gets Blue."^[23]^[24]

Reception

Critical Reviews of Original

Upon its release as the B-side to "Wonderful! Wonderful!" in November 1956, Johnny Mathis's recording of "When Sunny Gets Blue" garnered favorable notices from music trade publications for its emotional depth and the singer's interpretive skills. Cash Box, in its reviews section, awarded the track a B+ grade (excellent) and described it as a "moody ballad" sung "with feeling and style," noting that the tune "has a familiar ring and should please" with "good pop potential," though it was seen as secondary to the A-side's impact.^[25] Billboard's review praised Mathis's warm, rich voice as ideally suited to the ballad form, noting that the flip side features a haunting melody enhanced by his sensitive interpretation, lush arrangements, and unobtrusive orchestral support that heightens the song's tenderness without overpowering the vocal. The publication highlighted the recording's smooth, romantic quality and predicted substantial airplay, positioning it as a standout single for both pop and emerging jazz-leaning audiences drawn to Mathis's phrasing and the track's moody, caressing delivery.^[26] Early press coverage in trade papers further underscored the song's versatility, appealing to traditional pop listeners through its orchestral backing by Ray Conniff while attracting jazz enthusiasts with Mathis's nuanced, velvety phrasing that lent an intimate, emotional pull to the lyrics about lost love. Critics appreciated how the recording showcased Mathis's unique style—romantic and introspective—making it particularly well-suited to his baritone range and establishing him as a promising crossover artist.^[26]

Long-Term Assessment

Over decades, "When Sunny Gets Blue" has solidified its status as a jazz standard, appearing in essential fake books and anthologies that define the core repertoire for musicians. It is included in The Real Book, Volume I, the influential collection of lead sheets used by jazz performers since the 1970s.^[27] Similarly, the song features in Hal Leonard's The Singer's Book of Jazz Standards, underscoring its enduring appeal for vocalists and instrumentalists alike.^[28] Following its initial success with Johnny Mathis's 1956 recording, the tune transitioned seamlessly into jazz contexts, where its structure supports both intimate trio settings and larger ensembles.^[2] In retrospectives from the 2000s and beyond, critics have lauded the song's melodic elegance and lyrical subtlety, qualities that elevate it beyond typical pop fare. Ted Gioia's 2012 guide, The Jazz Standards: A Guide to the Repertoire, praises its "simple but affecting melody," which has sustained its popularity among jazz interpreters for its emotional resonance and graceful phrasing. Compared to other 1950s ballads like "Misty" and "Skylark," "When Sunny Gets Blue" stands out for its balanced fusion of pop accessibility—rooted in its straightforward verse-chorus form—and jazz depth through chromatic harmonies that reward sophisticated interpretation.^[2] This duality allows the song to bridge mainstream appeal with improvisational freedom, much like contemporaries that blend Tin Pan Alley simplicity with bebop-era complexity.^[2] Academic and critical analyses highlight the song's strong improvisational potential, particularly in performances by pianists like McCoy Tyner and Bill Evans. Tyner's 1963 trio rendition on Today and Tomorrow is a notable example of the ballad in a jazz trio setting.^[29] Evans did not record the tune in studio, but it fits his impressionist-influenced style.^[30] These interpretations underscore how the song's blues-inflected changes foster extended solos that blend lyricism with structural adventure.^[31]

Cover Versions

Early Interpretations

One of the earliest notable covers of "When Sunny Gets Blue" was recorded by Nat King Cole on December 28, 1956, for his album Love Is the Thing, released in 1957 by Capitol Records. Cole's rendition features his signature warm vocal delivery, accompanied by an orchestra conducted by Gordon Jenkins, which adds a lush, orchestral backdrop emphasizing emotional depth and subtle swing elements that helped transition the song from its pop origins toward a more intimate jazz ballad style.^[32] In 1957, June Christy recorded a vocal version with Pete Rugolo's orchestra, highlighting her cool jazz phrasing and emotional nuance.^[3] In 1962, Nancy Wilson included a sultry, poised interpretation on her debut album Hello Young Lovers, released by Capitol Records, where her phrasing highlights the lyrics' melancholy with smooth, breathy vocals backed by a small ensemble that underscores the song's romantic introspection.^[33] Similarly, Sarah Vaughan's 1962 recording, issued on the 1962 Roulette album Sarah + 2, showcases her expansive vocal range and improvisational flair, supported by minimal instrumentation from guitarist Barney Kessel and bassist Joe Comfort, allowing her scat-like embellishments and dynamic shifts to infuse the track with bebop-influenced jazz vitality.^[34] Instrumental versions further established the song in jazz circles, including Kenny Dorham's 1960 trumpet-led recording on his album If You Hear Any Good News, Don't Come Running Back to Me, emphasizing melodic improvisation, and Stan Kenton's orchestral arrangement that same year on Standards in Silhouette, featuring bold big-band dynamics. Additionally, McCoy Tyner's piano feature appears on his 1963 album Today and Tomorrow with the Jazztet, showcasing intricate harmonic explorations.^[3] The George Shearing Trio offered an instrumental take in 1962 on their Capitol release Jazz Moments, with Shearing's piano leading a swinging, light-hearted arrangement that prioritizes melodic flow and rhythmic bounce through trio interplay, further embedding the tune in jazz repertoire. Around the same period, Mel Tormé performed a live vocal version in 1964 on the television program Jazz Casual, delivering it with scat improvisation and a cool jazz sensibility that accentuated the song's lyrical swing. These early interpretations collectively shifted "When Sunny Gets Blue" toward jazz improvisation, establishing it as a standard ripe for scat, phrasing variations, and ensemble explorations in the late 1950s and 1960s.^[35]

Notable Later Versions

Chet Baker's 1986 recording of "When Sunny Gets Blue," the title track of his album with the Chet Baker Quartet, blends his signature trumpet work with vulnerable vocals, creating an introspective mood reflective of his late-career style. Recorded in Copenhagen with pianist Butch Lacy, bassist Jesper Lundgaard, and drummer Jukkis Uotila, the performance emphasizes Baker's fragile tone and emotional depth on both instruments, capturing a melancholic essence amid a sparse quartet arrangement.^[36]^[37] Dexter Gordon's 1980 saxophone performance on his album The Shadow of Your Smile delivers a robust tenor interpretation with extended improvisations, underscoring the song's bluesy undertones in a quartet setting.^[3] Barbra Streisand's 1967 cover appears on her album Simply Streisand, infusing the song with dramatic vocal flair, featuring legato phrasing and melismatic extensions that heighten its emotional intensity. Produced by Jack Gold, the arrangement incorporates orchestral elements while preserving the jazz ballad's intimacy. In the 2000s and beyond, the song has evolved in vocal jazz contexts, as seen in Mel Tormé and George Shearing's 1988 live recording from A Vintage Year, where Tormé's sophisticated scat and phrasing pair with Shearing's elegant piano for a swinging yet nuanced take. This version, captured during their collaborative tour, exemplifies the standard's adaptability to duo formats blending vocal improvisation with instrumental support, influencing subsequent fusion-inflected interpretations in modern jazz settings.^[38] Norah Jones's 2022 demo release offers a contemporary vocal take with minimalist piano accompaniment, blending pop sensibilities with jazz intimacy and highlighting the song's enduring emotional resonance.^[3]

Legacy

Cultural Influence

"When Sunny Gets Blue" has become a staple in jazz education, frequently included in standard fake books and learning resources for improvisation and performance practice. The song appears in The Real Book Volume I, a widely used collection of jazz standards that serves as a foundational text for musicians learning chord progressions and melodic structures.^[39] Its inclusion in such volumes underscores its role in teaching jazz harmony and phrasing, with educators often employing it in piano, vocal, and ensemble settings to develop improvisational skills.^[40] The song's enduring popularity is evidenced by over 300 recorded cover versions since its 1956 debut, solidifying its place within the Great American Songbook as a quintessential jazz ballad. This extensive catalog of interpretations spans vocalists, instrumentalists, and ensembles, highlighting its versatility and emotional depth as a vehicle for artistic expression.^[1] Performances by artists such as Johnny Mathis, Sarah Vaughan, and Chet Baker have contributed to its recognition in curated collections like The Great American Songbook series, where it exemplifies mid-20th-century pop-jazz fusion. It features prominently in numerous jazz compilations and tribute albums dedicated to influential figures from the 1950s and beyond, often honoring vocalists and instrumentalists of the era. For instance, it is included in Sarah Vaughan's retrospective Sarah Vaughan (1985), a compilation of her classic recordings, and in Tribute to Kenny Dorham (2011) by the Charles Davis All Stars, celebrating the trumpeter's legacy.^[41]^[42] Similar appearances occur in The Best of June Christy: The Jazz Sessions (1996) and A Tribute to Paul Desmond (2011) by Bruce Babad, reflecting its ongoing relevance in commemorating postwar jazz icons.^[43]^[44] Beyond music, the song has made minor incursions into popular culture, notably as the title of a 2001 episode of the television series Touched by an Angel (Season 8, Episode 9), where a band performs it during a key scene involving themes of loss and reconciliation.^[45] This reference, while not central to the plot, evokes the song's melancholic essence in a narrative context.^[46]

Legal Dispute

In 1984, American disc jockey and comedian Rick Dees released a parody entitled "When Sonny Sniffs Glue" on his comedy album Put It Where the Moon Don't Shine. The track, lasting approximately 29 seconds, adapted the melody and structure of "When Sunny Gets Blue" while altering the lyrics to inject absurd humor centered on glue-sniffing, such as "When Sonny gets blue, he sniffs a little glue," in stark contrast to the original's theme of romantic longing.^[47]^[48] The parody prompted a copyright infringement lawsuit filed in 1986 by the song's composers, Marvin Fisher and Jack Segal, against Dees and his co-writers in the U.S. District Court for the Central District of California. The plaintiffs alleged that the work infringed their copyright, unfairly competed with the original, and disparaged it through its comedic, irreverent content. The district court granted summary judgment for Dees, determining that the parody qualified as fair use under Section 107 of the Copyright Act of 1976. This ruling was affirmed on appeal by the United States Court of Appeals for the Ninth Circuit in Fisher v. Dees, 794 F.2d 432 (9th Cir. 1986).^[47] The Ninth Circuit's analysis hinged on the four statutory fair use factors. It emphasized the transformative nature of the parody, which critiqued and mocked the original's sentimental tone through its glue-sniffing humor rather than merely copying it for commercial gain. The court noted that while the original was a creative musical work, this factor weighed only modestly against fair use; the amount and substantiality of the portion used was minimal, limited to recognizable elements necessary to evoke the original; and the parody posed no significant market harm, as it targeted a different audience of comedy consumers and did not supplant demand for the romantic standard. The decision rejected the plaintiffs' moral objections, holding that parody's critical edge deserved protection regardless of offensiveness.^[47]^[49] The Fisher v. Dees outcome became a seminal precedent for fair use in musical parodies, clarifying that transformative works adding new expressive content—like humor diverging from the source's romance—could prevail even in commercial contexts. It influenced subsequent rulings, including the U.S. Supreme Court's 1994 decision in Campbell v. Acuff-Rose Music, Inc., which extended similar protections to 2 Live Crew's rap parody of Roy Orbison's "Oh, Pretty Woman," reinforcing parody's role in balancing copyright with free expression in music.^[47]^[50]

References

[1]
https://secondhandsongs.com/work/9131
[2]
Jazz Standards Songs and Instrumentals (When Sunny Gets Blue)
When Sunny Gets Blue (LP Version) - Carmen McRae. Carmen McRae, When Sunny Gets Blue - George Barnes Quartet George Barnes Quartet ; When Sunny Gets Blue - ...
[3]
Song: When Sunny Gets Blue written by Marvin Fisher, Jack Segal
The song When Sunny Gets Blue was written by Marvin Fisher and Jack Segal and was first released by Johnny Mathis with Ray Conniff and His Orchestra in 1956 ...
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Marvin Fisher Is Dead; Pop Composer Was 76 - The New York Times
Aug 24, 1993 · Fisher was born in New York, a son of Fred Fisher, a Tin Pan Alley composer whose songs included "Chicago," "Dardanella" and "Peg o' My Heart.
[5]
Song: Destination Moon written by Marvin Fisher, Roy Alfred
The song Destination Moon was written by Marvin Fisher and Roy Alfred and was first recorded and released by Nat "King" Cole with Orchestra conducted by ...
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Marvin Fisher; Composer of 'When Sunny Gets Blue'
Aug 26, 1993 · Marvin Fisher, 76, composer of such popular hits as “When Sunny Gets Blue” and “Destination Moon.” The son of Tin Pan Alley composer Fred Fisher.Missing: biography | Show results with:biography
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Dan Fisher Biography - JazzStandards.com
Dan Fisher was born into a musical family in New York City. His father ... brother Marvin wrote “When Sunny Gets Blue.” Dan Fisher is best known for ...
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Jack Segal, 86; Lyricist Was Best Known for 'Scarlet Ribbons'
Feb 14, 2005 · Born in Minneapolis, Segal earned a bachelor's degree in political science from the University of Wisconsin, added a master's from the New ...Missing: biography | Show results with:biography
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Song: May I Come In written by Marvin Fisher, Jack Segal
The song May I Come In was written by Marvin Fisher and Jack Segal and was first released by Vikki Carr arranged & conducted by Bob Florence in 1963.
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Aug 31, 2009 · Born in Minneapolis, Segal earned a bachelor's degree in political science from the University of Wisconsin, added a master's from the New ...Missing: biography | Show results with:biography
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Johnny Mathis – When Sunny Gets Blue Lyrics - Genius
[Verse 1] When Sunny gets blue. Her eyes get gray and cloudy. Then the rain begins to fall. Pitter-patter, pitter-patter. Love is gone so what can matter?
[13]
"When Sunny Gets Blue" For Beginners - PianoGroove.com
View this beginner-focused lesson on the tune “When Sunny Gets Blue”. Discuss the form of the melody, analyze the chord changes and apply them to your ...
[14]
[PDF] RAPID REFERENCE - Jamey Aebersold Jazz
Standard Eb. 104. 5. 4. When Lights Are Low. 87. Standard Eb. 140. 6. 1. When Sunny Gets Blue. 49. Ballad. F. 52. 3. 4. When The Saints Go Marching In 80.
[15]
[PDF] How to Write a Jazz Composition's Chord Progression
Jan 1, 2012 · chromatic third modulations, but examples can be found, such as. “When Sunny Gets Blue” by Jack Segal (which is in F major with a. D major ...<|control11|><|separator|>
[16]
Legacy Recordings Celebrates Record Store Day 10th Anniversary
Mar 21, 2017 · On September 21, 1956, the first Johnny Mathis session produced by Mitch Miller took place. It succeeded beyond anyone's wildest expectations.
[17]
Johnny's Greatest Hits — Johnny Mathis, June 9, 1958
Many of Mathis's early sides, such as “When Sunny Gets Blue,” “It's Not for ... The early tracks were recorded quickly at the Columbia Records 30th Street Studio ...
[18]
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When Sunny Gets Blue ; Performing Artists. Johnny Mathis. Vocals ; Composition & Lyrics. Jack Segal. Composer, Lyrics ; Production & Engineering. Al Ham. Producer.
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Johnny Mathis Remembers His Jazz Roots - Variety
Jan 4, 2019 · So you switched from jazz to pop and the rest is history. Mitch knew what he wanted. I remember that while I was singing, he was behind me, ...Missing: creative tensions
[21]
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[22]
Legacy Recordings Celebrates 10th Anniversary of Record Store ...
Wonderful!" b/w "When Sunny Gets Blue," shot up the charts in early 1957, peaked at #14, and stayed on Billboard's Pop Singles chart for 39 weeks - a record ...<|control11|><|separator|>
[23]
“Johnny's Greatest Hits”, (1958)
* Gold | June 1, 1959, · * Platinum | November 21, 1986, · * 3x Multi-Platinum | November 1, 1999 · #1 for 3 weeks on BILLBOARD Top Pop Album Charts. · © GUINNESS ...
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Johnny Mathis' Birthday: 12 Things to Know About Him - Billboard
Sep 30, 2025 · Mathis had been a hitmaker for all of 16 months when, in March 1958, Columbia released Johnny's Greatest Hits. The album logged 490 weeks on the ...
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[PDF] NASHVILLE - World Radio History
... CASH BOX” www.americanradiohistory.com. Page 5. The Cash Box, Music. Page 5. November 10, 1956 america's greatest * song salesmen! The. FOUR ACES. WRITTEN ON.
[26]
None
Below is a merged response summarizing all the provided segments about the Johnny Mathis "Wonderful! Wonderful!" review from *Billboard*, November 17, 1956, page 66. Given the variability in the data (some segments provide reviews while others indicate the review is not found), I’ll present the information in a structured table format for clarity and density, followed by a narrative summary to tie it all together. The table will capture all details, including sources, review text (where available), key details, and useful URLs.
[27]
The Real Book – Volume I – Sixth Edition C Edition Fake Book
Dating back to the 1940s, jazz musicians used Fake Books for their nightly gigs. ... What Am I Here For? What Was; When I Fall In Love; When Sunny Gets Blue; When ...
[28]
The Singer's Book of Jazz Standards - Men's Edition - Hal Leonard
$$5.95 delivery 30-day returns... When Sunny Gets Blue. Song List. Print. All Or Nothing At All; Alright, Okay, You Win; Autumn In New York; Body And Soul; But Beautiful; Cheek To Cheek; Day By ...
[29]
10 Essential Ballads That Every Saxophonist Should Know
Jun 18, 2014 · A beautiful, simple and lyrical melody with some great chord ... When Sunny Gets Blue, Angel Eyes, Skylark, Imagination, Blue in ...
[30]
10 of the Best Jazz Ballads of all time - Jazzfuel
Oct 24, 2025 · How about “when sunny gets blue” by Stitt or Tyner. And “lonely woman” by Silver or Metheny/Haden. Reply. Steve B. October 8, 2024 at 3:50 pm.
[31]
McCoy Tyner's Revolution | DO THE M@TH - Ethan Iverson
not Art Tatum, not Powell, not Monk, not Bill Evans — dropped a bomb on jazz pianists quite like McCoy Tyner. ... When Sunny Gets Blue Flapstick BluesMissing: potential | Show results with:potential
[32]
Album Review » Dave Askren Trio: Re: Bill Evans - All About Jazz
May 11, 2004 · ... jazz standards that he frequently played, and one that he never recorded but could easily have ("When Sunny Gets Blue"). The mood is ...Missing: analysis | Show results with:analysis
[33]
When Sunny Gets Blue Analysis | PDF - Scribd
Rating 5.0 (3) The document provides an analysis of the chord progressions and resolutions in the song 'When Sunny Gets Blue'. It outlines several sections of the song ...
[34]
https://www.allmusic.com/album/sarah-2-mw0000553372
[35]
https://secondhandsongs.com/performance/284544/all
[36]
When Sunny Gets Blue by Sarah Vaughan (Barney Kessel & Joe ...
When Sunny Gets Blue by Sarah Vaughan (Barney Kessel & Joe Comfort) ; Language: English ; First recorded on: August 7, 1961 ; Released on · Sarah Vaughan + 2. Album<|control11|><|separator|>
[37]
Sarah + 2 - Sarah Vaughan | Album | AllMusic
Rating 8.6/10 (45) Sarah Vaughan · Just in Time · When Sunny Gets Blue · All I Do Is Dream of You · I Understand · Goodnight Sweetheart · Baby, Won't You Please Come Home · When Lights ...<|control11|><|separator|>
[38]
Performance: When Sunny Gets Blue by Mel Tormé - George Shearing
When Sunny Gets Blue by Mel Tormé - George Shearing was written by Marvin Fisher and Jack Segal and was first released by Johnny Mathis with Ray Conniff and ...Missing: early | Show results with:early
[39]
When Sunny Gets Blue - AllMusic
Rating 6.6/10 (8) When Sunny Gets Blue by Chet Baker, Chet Baker Quartet released in 1986. Find album reviews, track lists, credits, awards and more at AllMusic.
[40]
When Sunny Gets Blue - Jazz Messengers
3–5 day deliveryWhen Sunny Gets Blue. Chet Baker. Steeplechase. Description. • 180 GRAM VINYL LP. A rather melancholic session but one of the best from that period. Butch Lacy ...Missing: album | Show results with:album
[41]
McCoy Tyner Catalog - Jazz Discography Project
When Sunny Gets Blue. Thad Jones, trumpet; Frank Strozier, alto sax; John ... McCoy Tyner - Soliloquy Blue Note CDP 7 96429 2. McCoy Tyner, piano. Merkin ...
[42]
McCoy Tyner Leader Entry - JazzDiscography.com
Jan 29, 2015 · b. 11571, When Sunny Gets Blue - 4:40 (Marvin Fisher, Jack Segal) ... McCoy Tyner Live At The Warsaw Jamboree Jazz Festival 1991 (2004). Some ...
[43]
Album of the Month for BarbraNews.com by Steven Housman
It's difficult to argue with the great American songbook with inclusions such as “When Sunny Gets Blue ... By February 1971, the album “Stoney End” was ...
[44]
When Sunny Gets Blue - Live - Vocal - Spotify
Listen to When Sunny Gets Blue - Live - Vocal on Spotify. Song · Mel Tormé, George Shearing · 1988.
[45]
The Real Book – Volume I – Sixth Edition – Mini Edition - Hal Leonard
What Am I Here For? What Was; When I Fall In Love; When Sunny Gets Blue; When ... Cover for First 50 Jazz Standards You Should Play on Guitar : Guitar ...
[46]
When Sunny Gets Blue - Realbook
Love is gone so what can matter? No sweet lover man comes to call. When Sunny gets blue. She breathes a sigh of sadness. Like the wind that stirs the trees.
[47]
https://law.justia.com/cases/federal/appellate-courts/F2/794/432/230836/
[48]
https://www.discogs.com/master/742002-Rick-Dees-Put-It-Where-The-Moon-Dont-Shine
[49]
A Tribute to Paul Desmond - BRUCE BABAD - Jazz Music Archives
Tracklist. 1 Line For Lyons 2 When Sunny Gets Blue 3 It's You I Like 4 My Funny Valentine 5 Things Ain'T What They Used To Be 6 Wendy 7 Take Five
[50]
"Touched by an Angel" When Sunny Gets Blue (TV Episode 2001)
Use app. Touched by an Angel. S8.E9. All episodesAll · Cast & crew · IMDbPro. All topics. When Sunny Gets Blue. Episode aired Dec 1, 2001; TV-G. IMDb RATING.Plot
[51]
"When Sunny Gets Blue"
Who knows who it really is. During Allison's flashback, Simon's band is playing "The Way You Look Tonight." Later they play the eponymous "When Sunny Gets Blue.
[52]
Fisher v. Dees, 794 F.2d 432 (9th Cir. 1986) - Justia Law
Fisher and Segal sued Dees for copyright infringement and other claims after Dees parodied their song. The court granted summary judgment for Dees, which was ...
[53]
https://www.discogs.com/master/742002-Rick-Dees-Put-It-Where-The-Moon-Dont-Shine
[54]
https://digitalcommons.lmu.edu/cgi/viewcontent.cgi?article=1117&context=elr
[55]
[PDF] The Fair Use Doctrine and Campbell v. Acuff-Rose
Marvin Fisher and Jack Segal, plaintiff/ appellants, owned the copyright to the 1950's song "When Sunny Gets Blue," which they jointly composed. Id. at 434 ...