The Peggy Lee Bio-Discography:
Concert Appearances (Live, Part I)

The New Jersey Symphony Orchestra (acc), John Chiodini (g), Jay Leonhart (b), Mike Renzi (p), Mark Sherman (vib, per), Vinton W. "Vinnie" Johnson (d), Peggy Lee (v)

At The Concert

Having attended this concert, New Jersey resident George Kurek has kindly shared his memories with his fellow fans of Peggy Lee, myself included. Typed in italics, his extensive and thoughtful comments cover the next three paragraphs.

This was a free concert of a seemingly endless string of Peggy's songs. As an appreciative member of that audience I marveled at her stamina - her health was not robust at the time, but she drew strength from the cheering audience song after song. Near the end of the concert fans had left their seats and crowded the area below the stage (despite her caution about violating fire regulations) and strained to be near to the star. I vividly recall the thought that Peg would have sung every song she knew to us that night.

The live program generated an excitement that the video could only hint at. Besides, I don't think the TV cameras were kind to her in this program, but this evening belonged to a trouper who gave her all. Peggy's show lasted much longer than the edited tape; cut was some warm banter that Peg made with the audience that saw a "free" show because of the taping. I felt privileged to witness this concert performed to perhaps 100-200 fans. In addition, this show was not part of a longer engagement with Resorts International; it was a one-time only affair. At the concert's end both star and her fans were left exhausted - she from her singing, we from applauding.

Seeing the show "live," I sensed no awkwardness, just Peg's amazement at the vigor of the audience's response. I understand, and I hope that I am correct, that originally the production called for a costume change after the first segment, but this was changed to facilitate smoothness of TV editing. Peg, ever the professional, actually seemed a tad overwhelmed by her fans' rush to the stage well before the show ended though throughout the program she seemed to draw energy from the audience, and as I said earlier, she might have gone on longer if the band and the NJ Symphony Orchestra players had not been playing overtime.


The Televised Show

Before its original commercial release (on laser disc), an edited version of this concert aired on the PBS TV network (channel 13 branch). The edited concert was actually the third and last of the channel's Summerfare series, dedicated to productions from the world of performing arts. Various online sources give this special's airdate as August 26, 1984. However, a New York Times review published on August 31, 1984 offers a different date: it announces that the special will be airing "next night." I don't know which of the two proposed dates is erroneous - or if either one is erroneous. Each could be referring to a different airing on a different market.

Unfortunately, I only have a few other details about the televised version of the concert. I presume it to have been edited to fit a one-hour slot. If so, only a portion of the full concert would have been televised. According to the review of the special, the aired performances included "Fever", "Is That All There Is?", "Why Don't You Do Right?", "Mañana", "The Folks Who Live On The Hill", "As Time Goes By", and "I'll Be Seeing You."


The Commercial Releases

The above-shown list of 30 songs is believed to reflect the exact order in which Peggy Lee sang them at the actual concert. The original order was substantially altered for commercial release. What's more, all the commercial releases (i.e., the DVD, the VHS tapes, etc.) exclude three of the numbers done by Lee on that evening ("Watch What Happens", "I Got It Bad", and "Help Me Make It Through The Night").

Other types of cuts or modifications were made for commercial release, too. One such modification altered the length and intensity of the applause. The actual concert is filled with prolonged, energetic audience applause after each of Lee's interpretations. The commercial releases shorten most of the applause and seemingly lower (or poorly capture) its volume.

The commercial releases also give the false impression that the concert ran through without that 15-minute break. Not so: there was an intermission after "Love Me Or Leave Me."

Last but not least, the concert contained more chatter than the amount kept on the commercial releases. Some of the chatter consisted of commentary about the ongoing taping of the performance. Some of it was about Lee's wardrobe. Once she finishes singing "Day In - Day Out" and the audience responds with applause, the singer tells those present that she had wanted to change her gown for the second half of her act, but was not allowed to do so "because of television." The directors like the way that the gown she is wearing photographs, she adds. As for her comments on the taping, Lee asks the audience if they knew that "this is a digital. The things you learn in 1984! ... It sounds funny in your head while you are recording ..." She uses a jocular tone when she makes these comments, and a few similar ones. Such tone notwithstanding, the comments probably point toward the singer's mild annoyance at the various changes that the recording process had brought onto her performing routine.

Contrary to what the commercial releases would have viewers believe, Lee's introduction of her musicians does not happen near the end of the concert. It happens instead after the twelfth song ("Make Believe"). More significantly, the introduction has been substantially edited. In its original concert form, Lee's presentation of the players is more teasingly humorous and meandering. To wit:

Would you like to meet these wonderful gentlemen? [Applause] I knew you would; they are something! ... We have over here this marvelous guitarist who has the most sensitive feeling for all different kinds of songs and loves music as much as his life, I think: John Chiodini. John! [Applause] I love you.

And behind me we have Mister Vinnie Johnson. Vinnie! [Applause] Ha; can you see him there? ... Those cymbals are your ears. I mean, the way they look there. I can hardly see him. And he's nice-looking, too. Can you come out front a little? ... There, there. Gooood looking. [Applause]

And over here we have [Lee interrupts herself, and goes into the following tangent. She is presumably referring to a sonic matter -- possibly the way her steps sound on the mike, or on the digital sound equipment, as she walks]. It sounds like an old ship, doesn't it? Maybe it is and I don't know. Maybe I died and went to, uh, "the second floor." Ha, ha, ha. Do you hear that? Excuse me, I'm worried about this. Is it alright, if it does that ... or are we sinking? Ha, ha, ha. Tea will be served on the deck shortly. [Audience laughter is heard throughout the aside.]

And I'd love you to meet Mark Sherman. Mark! [Applause] You know, I just -- I got so intent upon getting your name correct -- I did it alright -- but I didn't say anything to you, like I normally would. He's marvelous, he's marvelous. I had a percussionist that I kept calling by the name of an oriental rug and every time I said that -- several times -- he ... well, we became friends actually, it was alright. And I won't forget yours. Just think of a Sherman tank. Ha, ha, ha.

Well, now, back over here we have one of the old guard with us. He's a young old guard, yes. Jay Leonhart. Jay is so talented in so many ways, more than just playing the bass. He sings and he acts and he writes songs with strange lyrics, I think. Oh, excuse me, I didn't mean a critical comment. Ha, ha. Some of them are marvelous. [Audience laughter. Jay says, I'll take it!] and some of them are strange, that's all. Is he looking at the back of my head now? Do you like my hairstyle? [Applause] Thank you. That was important to me, very important -- more than you'll ever know. Write to me anywhere and I'll tell you what it was.

Now have I left out anyone? I know that the beautiful string section -- oh well, I can't stoop over this handsome Italian over there, oh my lord, and the way he plays. He really is one of the best in the world. Mike Renzi. Mike! [Applause]

And we're thrilled to be working with the wonderful members of the string section of the New Jersey Symphony. Aren't they marvelous? [Applause]

Lee also makes mention of drummer Grady Tate, "who couldn't be with us here tonight."


Masters

1. Incomplete Track Listings
The various commercial issues of this concert would seem to contain a different number of tracks. The DVD claims 27 songs, while the videotapes and the laser discs give their total number as 17 songs. In truth, both the VHS and the DVD contain 27 songs. The VHS thus leaves ten titles unlisted on its back cover, perhaps due to space limitations. (I do not have equivalent information about the laser disc. If it contains all 27 songs, then it also fails to list all of them on its back cover and its insert.)


Dating & Issues

1. Concert Date
In a July 5, 1985 Associated Press article about Peggy Lee, reference is made to this concert as having been taped "last summer." Other sources point to the month of August. The above-given date, August 9, is taken from the labeling on a concertgoer's extant tape.

2. Issues' Release Dates
Most laser disc and video tape releases of The Quintessential Peggy Lee bear a 1984 date. Such a date should not be taken to be an indication that those items were issued that year, however. As is the case with many other items released abroad (i.e., not in the United States), that date actually refers to the fact that the taped concert was copyrighted in 1984.

3. Laser Discs
I am aware of two laser disc editions of The Quintessential Peggy Lee, one issued in Japan, the other in the United States (with the possibility of a simultaneous release in the United Kingdom). Inconclusive data at my reach suggests that the American edition came out at some point between 1984 and 1987. I have tentatively chosen the year 1985, on the basis of the following comment, found in a July 5, 1985 Associated Press Peggy Lee article: "A London company, which makes video cassettes of operas and ballets, taped her two-hour show in Atlantic City last summer and will release The Quintessential Peggy Lee in America in August."

4. Video Tapes
As shown above, a VHS release of The Quintessential Peggy Lee made its appearances in Great Britain in 1989. As for the release date for the American VHS tape, commercial sites and press reviews alternate between January 1995 and February 1995. Nevertheless, I would not discard the likelihood that (unbeknownst to me so far) the 1995 item could be a reissue of a pre-existent American VHS issue.

5. DVD
The Quintessential Peggy Lee DVD does not bear even a copyright date. Release dates fluctuating between January and April of 2003 can be found in various commercial websites.


Labels & Catalogue Numbers

Released under Pioneer Artists, the catalogue number Pa 86 153 belongs to the American laser disc. On the disc, Pioneer Artists identifies itself as "a division of LaserDisc Corporation of America." The trademarked wording "LaserDisc" is found on the disc, too.

Also listed above is the catalogue number for the Japanese-market edition, which identifies itself as a LaserDisc release, without making direct mention of Pioneer.


Songs

1. "Akatonbo"
2. "Yuyake Koyake"
During this concert, Peggy Lee sings a popular Japanese song titled "Akatonbo." In the English language, that title is usually translated into "The Song Of The Dragonfly", or just "Dragonfly." However, the DVD's program calls it "Yuyake Koyake (Sunset)." Although "yuyake koyake" are the first two words of the lyric, I believe that the title "Yuyake Koyake" belongs to a different -- and also very well-known -- Japanese song. (In other words, I believe that the DVD's program misidentifies the song.)

3. "Mañana"
4. "Why Don't You Do Right?"
5. "Johnny Guitar"
6. "Them There Eyes"
These numbers are sung as encores after the concert's official last number, "I'll Be Seeing You."