Sammy Davis, Jr. Studio Sessionography

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Sammy Davis, Jr. signs for Capitol Records

By 1948, Sammy Davis, Jr. was making a name for himself as the drawcard member of the Will Mastin Trio, an opening act appearing in clubs and theatres around the United States. The Trio had become somewhat successful, opening for headliners such as Billie Holiday, Mickey Rooney and Frank Sinatra, but had yet to hit the big time. Sammy and Sinatra had first met in 1941, at the Michigan Theatre in Detroit, when the Trio had opened for Tommy Dorsey and his Orchestra. They became friends in May 1947 during a three week engagement at the Capitol Theatre in New York. During this time Davis' role in the act featured him doing singing impressions of other singers, but Sinatra encouraged him to sing in his own voice.

Davis' first opportunity to do just that came after Capitol Records executive Dave Dexter heard Sammy on a radio broadcast from LA in late 1948. He asked a mutual friend, big-band drummer Jesse Price, to contact Sammy, and soon Davis was signed to a 20-record deal - at $50 per side. Although the singles released were commerically unsuccessful (even resorting to releasing two singles under different pseudonyms), "The Way You Look Tonight" was chose by Metronome magazine as their "Record of the Year" for 1949. The magazine also labeled Sammy the year's "Most Outstanding New Personality".

Davis had trouble finding his 'own' voice, and many of the recordings feature him adopting (or overtly aping) the vocal styles of popular singers of the day. In retrospect, Davis considered that the arrangements and direction of Dave Cavanaugh were lacking, but it is clear that Davis still needed to further develop his own style. Following their release on Capitol, the recordings remained largely unissued until the 1990s. Now they can be found on many compilation CDs, partly due to the 50-year expiration of Copyright in Europe.

Sammy Davis, Jr. (ldr), Dave Cavanaugh (arr, con, ts), Shirley Goedike, Mickey Mangano (t), Lloyd Elliott, Ed Kusby, Lloyd Ulyate, Si Zentner (tb), Jack Crowley (bar), Robert Bain, Wesley Nellermoe (g), John Simmons (b), Gerald Wiggins (p), Jesse Price (d), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Dave Cavanaugh (arr, con, ts), Shirley Goedike, Mickey Mangano (t), Red Benson, Lloyd Elliott, Ed Kusby (tb), Joe Koch (bar), Jack Marshall (g), John Simmons (b), Gerald Wiggins (p), Alvin Stoller (d), Karl Kiffe (bo), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), members of The Woody Herman Orchestra (acc), Dave Cavanaugh (arr, con, ts), Gerald Wiggins (p), Sammy Davis, Jr. (v)

"Dreamy Blues" and "What Can I Do" recorded under the name 'Charlie Green'.
"Got A Great Big Shovel" and "We're Gonna Roll" recorded under the name 'Shorty Muggins'.

Sammy Davis, Jr. (ldr), Dave Cavanaugh (arr, con, ts), Mickey Mangano (t), Gus Bivona (as), Art Hulette (bar), Mike Rubin (b), Gerald Wiggins (p), Don Lamond (d), Sammy Davis, Jr. (v, tap)

Sammy Davis, Jr. (tap) on a.

Sammy Davis, Jr. (ldr), Dave Cavanaugh (arr, con, ts), Mickey Mangano (t), Red Benson, Lloyd Elliott, Bill Shaffer (tb), Joe Koch (bar), Mike Rubin (b), Gerald Wiggins (p), Lee Young (d), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Morty Stevens' Orchestra (acc), Morty Stevens (dir), Sammy Davis, Jr. (v)

These four recordings were made during the period between Sammy's Capitol and Decca recording contracts, probably due to Sammy's burgeoning popularity. A single was released on an independent label called DDR, but all four performances did not see the light of day until they were released on a Design LP in 1957 alongside six songs by Joya Sherrill. This was not a duet album and Sherrill's recordings were made seperately.

Sammy Davis, Jr. signs for Decca Records

At the beginning of 1954, Sammy Davis, Jr. was a bona fide star. A much heralded performance at Ciro's on the Sunset Strip in March 1951 had led to the Will Mastin Trio crossing the country playing the nation's hottest clubs, including the Flamingo in Las Vegas, the Fairmont Hotel in San Francisco, the Beachcomber in Miami Beach, and the Riviera in New Jersey (where Sammy met Morty Stevens, a clarinetist in the Riviera house band who would soon become Davis' on-the-road arranger and conductor).

Davis and the Trio had started appearing on television, including Ed Sullivan's The Toast of the Town, and Eddie Cantor's The Colgate Comedy Hour in 1952. ABC Television even commissioned a $200,000 pilot for a TV sitcom starring the Trio in 1953. Although the pilot was not picked up, this was a groundbreaking achievement for an African American entertainer.

1954, though, would be the year Sammy really hit the big time. In March, the Trio headlined the famous Copacabana in New York. Just as importantly, he appeared at the Last Frontier in Las Vegas in February and November with special contract conditions - the Trio were allowed to stay in the Frontier's best suites (not in an African American hotel across town) and had free run of the facilities - the casino, restaurants, pool. This was one of the first, and probably the first, such deal, and was a landmark achievement in breaking the colour barrier in Las Vegas.

Four years after his experience with Capitol Records, Davis had a much better command of his craft. But he was still reluctant to sign another recording contact, fearing a repeat of his Capitol experience. Milt Gabler, an executive at Decca Records, finally convinced Davis to sign in early 1954. This time everything fell into place. His very first single, "Hey There", climbed to #1 on the Cash Box Record Charts on September 25, and stayed there for 8 weeks. Davis' first LP, "Starring Sammy Davis, Jr." also rose to #1 after it was released in April, 1955. Davis would remain with Decca until he moved to Frank Sinatra's new Reprise label in 1960.

Peggy Lee (ldr), The Sy Oliver Orchestra (acc), Sy Oliver (dir), Peggy Lee (v), Sammy Davis, Jr. (tap)

Davis was brought in to add heel dancing to this recording when the initial recordings using Dan Dailey didn't work out. It is unlikely the grumbled asides in Spanish heard are also Davis. He does not sing.

Sammy Davis, Jr. (ldr), The Sy Oliver Orchestra (acc), Sy Oliver (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Morty Stevens' Orchestra (acc), Morty Stevens (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Joseph Gershenson (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Joseph Gershenson (dir), Sammy Davis, Jr. (v)

This recording of "The Birth Of The Blues" supposedly contains audience applause. It is more likely this is, in fact, a studio recording with 'canned' applause added later.

Sammy Davis, Jr. (ldr), The Sy Oliver Orchestra (acc), Sy Oliver (dir), Sam Taylor (ts), Sammy Davis, Jr. (v)

Three of the recordings from this session made the Billboard Charts. "Something's Gotta Give" peaked at #9 and was on the charts for 11 weeks; "Love Me Or Leave Me" peaked at #12 and was on the charts for 12 weeks; "That Old Black Magic" peaked at #13 and was on the charts for 6 weeks.

Sammy Davis, Jr. (ldr), Jack Pleis, Morty Stevens (dir), Sammy Davis, Jr., Carmen McRae (v)

Jack Pleis (dir) on c-d; Morty Stevens (dir) on a-b; Carmen McRae (v) on c-d.

Sammy Davis, Jr. (ldr), The Sy Oliver Orchestra (acc), Sy Oliver (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), The Sy Oliver Orchestra (acc), Sy Oliver (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), The Sy Oliver Orchestra (acc), Sy Oliver (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Morty Stevens' Orchestra (acc), Morty Stevens (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Morty Stevens' Orchestra (acc), Morty Stevens (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Morty Stevens' Orchestra (acc), Morty Stevens (dir), Sammy Davis, Jr. (v)

Gary Crosby, Sammy Davis, Jr. (ldr), Morty Stevens' Orchestra (acc), Morty Stevens (dir), Gary Crosby, Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Jack Pleis' Orchestra (acc), Jack Pleis (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Sammy Davis, Jr. (v)

It is assumed this is an edited version of L8574 for inclusion on a 45 release.

Sammy Davis, Jr. (ldr), Morty Stevens' Orchestra (acc), Morty Stevens (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Morty Stevens' Orchestra (acc), Morty Stevens (con), Sammy Davis, Jr. (v, tap), The Will Mastin Trio (tap)

Sammy Davis, Jr. (tap) on b; The Will Mastin Trio (tap) on d.

Sammy Davis, Jr. (ldr), Morty Stevens' Orchestra (acc), Morty Stevens (con), Jack Carter, Sammy Davis, Jr., Olga James, Pat Marshall (v)

Jack Carter (v) on d, f-g; Olga James (v) on c, f-g; Pat Marshall (v) on f-g.

Sammy Davis, Jr. (ldr), The Sy Oliver Orchestra (acc), Sy Oliver (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Sy Oliver, Jack Pleis (dir), Sammy Davis, Jr. (v)

Sy Oliver (dir) on c-d; Jack Pleis (dir) on a-b.

Sammy Davis, Jr. (ldr), Jack Pleis' Orchestra (acc), Jack Pleis (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Morty Stevens' Orchestra (acc), Morty Stevens (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), The Sy Oliver Orchestra (acc), Sy Oliver (dir), Paul Cohen, Bernie Glow, Ernie Royal, Charlie Shavers (t), Robert Alexander, Frank Rehak, Frank Sorraco (tb), Tom Mitchell (tu), Sid Cooper, Dave McRae (as), Cy Lewitt, Rudy Tanza, Sam Taylor (ts), George Barnes (g), Dave Martin (p), Jimmy Crawford (d), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Sy Oliver (dir), Ernie Royal, Charlie Shavers, Paul Webster (t), Robert Alexander, Ward Silloway, Frank Sorraco (tb), Sid Cooper, Rudy Tanza (as), Sam Taylor, Lucky Thompson (ts), Dave McRae (bar), George Barnes (g), Sandy Block (b), Dave Martin (p), Jimmy Crawford (d), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Jack Pleis' Orchestra (acc), Jack Pleis (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr.'s artistic peak at Decca

At the beginning of 1957, in addition to being one of the country's top nightclub entertainers, a successful recording artist, and an in-demand television performer, Sammy Davis, Jr. was also a Broadway star. His show "Mr Wonderful" closed its run on Broadway on 23rd February, 1957, following 383 performances.

As this chapter in Sammy's career closed, another opened - dramatic acting. In addition to continuing to tour the country's night spots, over the next 3 years he would tape dramatic roles in two television anthology series, "General Electric Theatre" and "Zane Grey Theatre", play the role of escaped convict Glenn Griffin in a stage play production of "The Desperate Hours" (in Nov 1958), and star in two feature films: "Anna Lucasta", alongside Eartha Kitt (in May-Jun 1958), and Samuel Goldwyn's big-budget production of "Porgy and Bess", alongside Sidney Poitier and Dorothy Dandridge (in Sep-Dec 1958).

The period 1957-1960 contains the artistic peak of Davis' recording stint with Decca Records. This includes a swinging album with the Count Basie band (minus Count Basie himself for contractural reasons), a fantastic guitar-only album with Mundell Lowe, sessions featuring musical showstoppers arranged and conducted by Buddy Bregman, and two duet albums with Carmen McRae.

Very little of this material has seen wide reissue (outside of Japan, at least). As with Davis' 1954-1956 Decca output, there remains several unreleased recordings. Some of these recordings still exist (they were on eBay at one point around 2004) but with the Davis estate seemingly in continual disarray it is unlikely they will see the light of day any time soon.

Sammy Davis, Jr., Carmen McRae (ldr), Jack Pleis' Orchestra (acc), Jack Pleis (dir), Sammy Davis, Jr., Carmen McRae (v)

Sammy Davis, Jr., Carmen McRae (ldr), Jack Pleis' Orchestra (acc), Jack Pleis (dir), Sammy Davis, Jr., Carmen McRae (v)

Sammy Davis, Jr. (ldr), Morty Stevens' Orchestra (acc), Morty Stevens (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Morty Stevens' Orchestra (acc), Morty Stevens (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Morty Stevens (dir), Harry Edison, Virgil Evans, Conrad Gozzo (t), Milt Bernhardt, Frank Howard, George Roberts (tb), Harry Klein, Ronnie Lang (as), Don Raffell, Babe Russin (ts), Bob Lawson (bar), Robert Bain (g), Joe Comfort (b), Roger Renner (p), Alvin Stoller (d, bo), Sammy Davis, Jr. (v, tap)

Alvin Stoller (bo) on d; Sammy Davis, Jr. (tap) on d.

The final recording here, "Traps and Taps", features only Sammy and Alvin Stoller (drums, bongos).

Sammy Davis, Jr. (ldr), Morty Stevens (dir), Babe Russin (ts), Harry Klee (f), Dan Lube, Marshall Sosson (vn), Alvin Dinken (vl), Eleanor Slatkin (vc), Robert Bain (g), Joe Comfort (b), Roger Renner (p), Alvin Stoller (d), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Jack Pleis (dir), Harry Edison, Virgil Evans, Conrad Gozzo (t), Milt Bernhardt, Frank Howard, George Roberts (tb), Harry Klein, Ronnie Lang (as), Don Raffell, Babe Russin (ts), Bob Lawson (bar), Robert Bain (g), Joe Comfort (b), Roger Renner (p), Irv Cottler (d), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Jack Pleis (dir), Manny Klein (t), Babe Russin (ts), Harry Klee (f), Dan Lube, Marshall Sosson (vn), Paul Robyn (vl), Eleanor Slatkin (vc), Tony Rizzi (g), Mort Cobb (b), Roger Renner (p), Alvin Stoller (d), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Morty Stevens' Orchestra (acc), Morty Stevens (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Mundell Lowe (g), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Mundell Lowe (g), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (v)

This is a master edited from matrix 103514 (see session 15 October, 1957), presumably to shorten it so it would fit on an EP with 3 other titles.

Sammy Davis, Jr. (ldr), Morty Stevens' Orchestra (acc), Morty Stevens (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Russell Garcia, Dick Stabile (dir), Sammy Davis, Jr. (v)

Russell Garcia (dir) on c-d; Dick Stabile (dir) on a-b.

Sammy Davis, Jr. (ldr), Sonny Burke (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Jack Pleis' Orchestra (acc), Jack Pleis (dir), Sammy Davis, Jr. (v, tap)

Sammy Davis, Jr. (tap) on c.

Sammy Davis, Jr. (ldr), Jack Pleis' Orchestra (acc), Jack Pleis (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Buddy Bregman, Morty Stevens (arr, con), Pete Candoli, Maynard Ferguson, Conrad Gozzo, Ray Linn (t), Marshall Cram, Joe Howard, Lloyd Ulyate (tb), George Roberts (btb), James Decker, Vincent DeRosa (frh), Buddy Collette, Ted Nash (cl, ts, f), Willie Schwartz, Bud Shank (cl, as, f), Chuck Gentry (bcl, bar), Julie Jacob (o), Gene Cipriano, Harry Klee (wdw), Israel Baker, Victor Bay, Alex Beller, Jacques Gasselin, Joseph Livoti, Erno Neufeld, Lou Raderman, Mischa Russell, Eunice Shapiro, Felix Slatkin (vn), Stanley Harris, Stanley Kievman, Virginia Majewski, David Sterkin (vl), Armand Kaproff, Robert La Marchina, Edgar Lustgarten, Eleanor Slatkin (vc), Corky Hale (hrp), Al Hendrickson (g), Whitey Mitchell (b), George Rhodes (p), Mel Lewis (d), Milt Holland, Lou Singer (per), Sammy Davis, Jr. (v)

Buddy Bregman (arr) on a-b; (con) on a-b; Morty Stevens (arr) on c-d; (con) on c-d.

Sammy Davis, Jr. (ldr), Buddy Bregman, Morty Stevens (arr, con), Pete Candoli, Maynard Ferguson, Conrad Gozzo, Ray Linn (t), Marshall Cram, Joe Howard, Lloyd Ulyate (tb), George Roberts (btb), James Decker, Vincent DeRosa (frh), Buddy Collette, Ted Nash (cl, ts, f), Willie Schwartz, Bud Shank (cl, as, f), Chuck Gentry (bcl, bar), Julie Jacob (o), Gene Cipriano, Harry Klee (wdw), Israel Baker, Victor Bay, Alex Beller, Jacques Gasselin, Joseph Livoti, Erno Neufeld, Lou Raderman, Mischa Russell, Eunice Shapiro, Felix Slatkin (vn), Stanley Harris, Stanley Kievman, Virginia Majewski, David Sterkin (vl), Armand Kaproff, Robert La Marchina, Edgar Lustgarten, Eleanor Slatkin (vc), Corky Hale (hrp), Al Hendrickson (g), Whitey Mitchell (b), George Rhodes (p), Mel Lewis (d), Milt Holland, Lou Singer (per), Sammy Davis, Jr., The Bill Thompson Singers (v), Alice Armbruster, Ralph Brewster, Tom Kenny, Sue Lyttle, Bill Thompson (bkv)

Buddy Bregman (arr) on a, c; (con) on a, c; Morty Stevens (arr) on b, d-e; (con) on b, d-e; The Bill Thompson Singers (v) on a-c; Alice Armbruster (bkv) on a-c; Ralph Brewster (bkv) on a-c; Tom Kenny (bkv) on a-c; Sue Lyttle (bkv) on a-c; Bill Thompson (bkv) on a-c.

It is somewhat unlikely that the personnel listing for both the 9th October session and the 28th October session be identical. However, this is the best listing available.

Doubtless the entire orchestra did not remain for the as yet unissued recording of "Crazy".

Sammy Davis, Jr., Carmen McRae (ldr), Buddy Bregman (arr), Jack Pleis (dir), Sammy Davis, Jr., Carmen McRae (v)

Buddy Bregman (arr) on a.

Sammy Davis, Jr. (ldr), The Buddy Bregman Orchestra (acc), Buddy Bregman (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (v)

This is a master edited from matrix L 11227 (see session 28 October, 1958), presumably to shorten it so it would fit on an EP with 3 other titles.

Sammy Davis, Jr. (ldr), Jack Pleis' Orchestra (acc), Jack Pleis (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (v)

This is a master edited from matrix L 11198 (see session 9 October, 1958), presumably to alter it for release on a 45.

Sammy Davis, Jr. (ldr), Buddy Bregman, Morty Stevens (dir), Sammy Davis, Jr. (v)

Buddy Bregman (dir) on a-b, d; Morty Stevens (dir) on c.

Sammy Davis, Jr. (ldr), Buddy Bregman, Morty Stevens (dir), Mundell Lowe (g), Sammy Davis, Jr. (v)

Buddy Bregman (dir) on b, d, g; Morty Stevens (dir) on a, c, e-f; Mundell Lowe (g) on h.

Sammy Davis, Jr. (ldr), The Count Basie Orchestra (acc), Morty Stevens (arr, con), John Anderson, Thad Jones, Joe Newman, Ernie Royal, Eugene "Snooky" Young (t), Henderson Chambers, Henry Coker, Al Grey, Benny Powell (tb), Marshall Royal, Frank Wess (as), Frank Foster, Billy Mitchell (ts), Charles Fowlkes (bar), Freddie Green (g), Eddie Jones (b), George Rhodes (p), Sonny Payne (d), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), The Count Basie Orchestra (acc), Jack Pleis (arr, con), John Anderson, Thad Jones, Joe Newman, Ernie Royal, Eugene "Snooky" Young (t), Henry Coker, Al Grey, Benny Powell (tb), Marshall Royal, Frank Wess (as), Frank Foster, Billy Mitchell (ts), Charles Fowlkes (bar), Freddie Green (g), Eddie Jones (b), George Rhodes (p), Sonny Payne (d), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), The Count Basie Orchestra (acc), Sy Oliver (arr, con), John Anderson, Thad Jones, Joe Newman, Ernie Royal, Eugene "Snooky" Young (t), Henry Coker, Al Grey, Benny Powell (tb), Eric Dolphy, Marshall Royal (as), Frank Foster, Billy Mitchell (ts), Charles Fowlkes (bar), Freddie Green (g), Eddie Jones (b), George Rhodes (p), Sonny Payne (d), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), The Buddy Bregman Orchestra (acc), Buddy Bregman (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Morty Stevens' Orchestra (acc), Morty Stevens (con), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (v)

This is a master edited from matrix 108525 (see session 4 January, 1960), presumably to alter it for release on a 45.

Sammy Davis, Jr. (ldr), The Buddy Bregman Orchestra (acc), Buddy Bregman (dir), Sammy Davis, Jr. (v)

Sammy Davis, Jr. signs for Reprise Records

Heading into 1961, Sammy Davis, Jr. was now a heavyweight in Frank Sinatra's circle of close friends - an ensemble which included Dean Martin, Peter Lawford and Joey Bishop. All five starred in the movie "Ocean's 11", which started filming in Las Vegas on January 26, 1961. The group performed concurrently at the Sands Hotel each night, in an extravaganza they referred to as 'The Summit' (a reference to the East-West Paris summit in May 1960 between the US, USSR, UK and France). The group would later be christened 'The Rat Pack', as a successor of sorts to Humphrey Bogart's 1950s Holmby Hills 'Rat Pack'.

1961 began a period of 'Rat Pack' activities for Davis that included the films "Sergeants 3" in June 1961 and "Robin and the 7 Hoods" in November 1963, and 'Summit' performances with Sinatra and Martin in Atlantic City in August 1962, at the Villa Venice in Chicago in November 1962, and back at The Sands Hotel in both January and September 1963.

In this light, it is clear that the decision for Sammy Davis, Jr. to leave Decca Records at the end of 1960 was taken solely on the grounds that Frank Sinatra was leaving Capitol to create his own record label. Frank's new label, Reprise Records, signed not only Sammy, but also similar artists such as Dean Martin, Bing Crosby, Rosemary Clooney, Count Basie and Duke Ellington. Sammy signed his contract on the 1st September, 1960. With Frank looking out for the artists' rights, the standard Reprise contract allowed for the rights to recorded masters to revert back to the artist after a short window, but Davis signed these rights away - perhaps in the search for more short term cash. Subsequent contracts with Reprise were signed on 1st July, 1962 and 23rd September, 1963.

In his first few years at Reprise, Davis chose Marty Paich to become a frequent collaborator, doubtless impressed by Paich's work with Davis' long-time friend Mel Tormé on Bethlehem and Verve. It was Paich's more jazz-oriented, specifically 'West Coast Jazz'-style, approach that saw Sammy make some of the best recordings of his entire career during this time, most notably on one side of Sammy's debut album on Reprise, "The Wham Of Sam". Paich also arranged Sammy's hit single "What Kind Of Fool Am I", which was on the Billboard charts for 15 weeks in 1962, and was Grammy-nominated for Record of the Year.

Other highlights of the period 1961-1964 include standout albums of Broadway showstoppers, a collaboration with Sam Butera and The Witnesses, a live album recorded at the Cocoanut Grove, an album of songs composed by Mel Tormé, finally an official album with Count Basie and His Orchestra, and the cast recording from his second Broadway musical, "Golden Boy". By 1964, 'Rat Pack' activities had largely ceased, and preparations for Sammy's return to Broadway were opening the next chapter in his career.

Sammy Davis, Jr. (ldr), Morty Stevens (arr, con), Frank Beach, Don Fagerquist, Ollie Mitchell, Uan Rasey (t), Frank Howard, Dick Nash, Dick Noel, Kenny Shroyer, Lloyd Ulyate (tb), Bill Green, Ronnie Lang (as), Buddy Collette, Dave Pell (ts), Chuck Gentry (bar), Sam Freed, Anatol Kaminsky, Erno Neufeld, Lou Raderman (vn), Armand Kaproff, Raphael Kramer, Edgar Lustgarten, Kurt Reher (vc), Tony Rizzi (g), Red Mitchell (b), Jimmy Rowles (p), Shelly Manne (d), Larry Bunker (per), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), The Marty Paich Dek-Tette (acc), Marty Paich (arr, con), Al Porcino, Jack Sheldon (t), Stu Williamson (tb), Vincent DeRosa (frh), Red Callender (tu), Bud Shank (as), Bill Perkins (ts), Bill Hood (bar), Joe Mondragon (b), Mel Lewis (d), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Neal Hefti, Marty Paich, Morty Stevens (arr), Sammy Davis, Jr. (v)

Neal Hefti (arr) on b-c; Marty Paich (arr) on a; Morty Stevens (arr) on d.

Sammy Davis, Jr. (ldr), Morty Stevens (arr, con), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Marty Paich, Morty Stevens (arr, con), Sammy Davis, Jr. (v)

Marty Paich (arr) on e-g; (con) on e-g; Morty Stevens (arr) on a-d; (con) on a-d.

"What Kind Of Fool Am I" was on the Billboard Charts for 15 weeks, peaking at #17.

Sammy Davis, Jr. (ldr), The Marty Paich Dek-Tette, Marty Paich's Orchestra (acc), Marty Paich (arr, con), Sammy Davis, Jr. (v)

The Marty Paich Dek-Tette (acc) on a; Marty Paich's Orchestra (acc) on b-d.

Sammy Davis, Jr. (ldr), Marty Paich's Orchestra (acc), Marty Paich (arr, con), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Marty Paich's Orchestra (acc), Marty Paich (arr, con), Sammy Davis, Jr. (v), Unknown (bkv)

Sammy Davis, Jr. (ldr), The Marty Paich Dek-Tette, Marty Paich's Orchestra (acc), Marty Paich (arr, con), Sammy Davis, Jr. (v)

The Marty Paich Dek-Tette (acc) on a-b; Marty Paich's Orchestra (acc) on c-d.

Sammy Davis, Jr. (ldr), Sammy Davis, Jr. (v)

An LP supposedly released in support of the Democratic National Committee.

Sammy Davis, Jr. (ldr), Eugene Page, Marty Paich (arr, con), Sammy Davis, Jr. (v)

Eugene Page (arr) on c-d; (con) on c-d; Marty Paich (arr) on a-b; (con) on a-b.

Sammy Davis, Jr. (ldr), Jimmy Haskell, George Rhodes, Chuck Sagle, Morty Stevens (arr, con), Sammy Davis, Jr. (v)

Jimmy Haskell (arr) on d; (con) on d; George Rhodes (arr) on b-c; (con) on b-c; Chuck Sagle (arr) on d; (con) on d; Morty Stevens (arr) on a; (con) on a.

Sammy Davis, Jr., Dean Martin, Frank Sinatra (ldr), Billy May (arr, con), Sammy Davis, Jr., Dean Martin, Frank Sinatra (v)

Dean Martin (v) on b; Frank Sinatra (v) on a.

Sammy Davis, Jr. (ldr), Marty Paich (arr, con), Sammy Davis, Jr. (v)

Marty Paich (arr) on a-b; (con) on a-b.

Sammy Davis, Jr. (ldr), Marty Paich (arr, con), Sammy Davis, Jr. (v)

A little-known Christmas recording, which was circulated only to disc jockeys in 1963. The single promoted a 'Christmas Seals' charity.

Sammy Davis, Jr. (ldr), Ray Ellis (arr, con), Sammy Davis, Jr. (v)

Ray Ellis (arr) on b; (con) on b.

Two titles recorded (almost certainly seperately) at some point in 1963. The first was the title song for the motion picture "Johnny Cool", a film in which Sammy also had a minor role.

The second was recorded as the title song for an album commissioned as a fundraiser for the United Nations. "Three Billion Millionaires" was an all-original music comedy celebrating diversity, written specifically for LP. Possible recording date around August, 1963.

Sammy Davis, Jr. (ldr), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Johnny Keating, Peter Knight (arr, con), Sammy Davis, Jr. (v)

Peter Knight (arr) on a-f, h-k; (con) on a-f, h-k.

Recordings at this session also included master number 2237, a spoken introduction to the LP being recorded, and master number 2249, an alternate ending to "Give Me The Moonlight" for the USA. While the USA ending was not used for the 2004 Collectors' Choice reissue on CD, it was released as a bonus track on the 2005 Warner Jazz CD reissue.

Sammy Davis, Jr. (ldr), Sammy Davis, Jr. (v)

"The Shelter Of Your Arms" was on the Billboard Charts for 17 weeks, peaking at #17.

Sammy Davis, Jr. (ldr), Warren Barker, Billy May, George Rhodes (arr), Morris Stoloff (con), Terry Rosen (g), Sammy Davis, Jr., Dean Martin, Frank Sinatra (v)

Warren Barker (arr) on e; Billy May (arr) on a; George Rhodes (arr) on b-c; Terry Rosen (g) on d; Dean Martin (v) on a; Frank Sinatra (v) on a.

Recordings for a suite of fours LPs making up the "Reprise Musical Repertory Theatre".

"We Open In Venice" recorded on 10th July. Dates for other titles unknown, although presumably they would have been in July. Master numbers appear to have not been assigned according to recording date for much of this period.

"That Great Come-And-Get-It Day" also has a Reprise master number of 2167 from during this period. However, the performance used in the "Finian's Rainbow" release is simply Davis' recording from July 1961 (master 453).

Sammy Davis, Jr. (ldr), Morty Stevens' Orchestra (acc), Morty Stevens (arr, con), Sammy Davis, Jr. (v)

Session also includes matrix 2198, an unreleased alternate take of "That Old Black Magic".

Sammy Davis, Jr. (ldr), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Marty Paich (arr, con), Sammy Davis, Jr. (v)

Marty Paich (arr) on a; (con) on a.

Sammy Davis, Jr. (ldr), Marty Paich's Orchestra (acc), Marty Paich (arr, con), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Marty Paich (arr, con), Sammy Davis, Jr. (v)

Marty Paich (arr) on m; (con) on m.

Bing Crosby, Sammy Davis, Jr., Dean Martin, Frank Sinatra (ldr), Nelson Riddle (arr, con), Conte Candoli, Dick Nash, George Roberts, Clarence "Shorty" Sherock (br), Harry Klee (f), Al Viola (g), Joe Comfort (b), Irv Cottler (d), Emil Richards (per), Bing Crosby, Sammy Davis, Jr., Dean Martin, Frank Sinatra (v)

Bing Crosby (v) on b-c; Dean Martin (v) on b-c; Frank Sinatra (v) on b-c.

"Bang! Bang!" possibly recorded earlier than April 10.

Sammy Davis, Jr. (ldr), Perry Botkin, Jr., Jimmy Haskell (arr, con), Sammy Davis, Jr. (v)

Perry Botkin, Jr. (arr) on b; (con) on b; Jimmy Haskell (arr) on c; (con) on c.

Sammy Davis, Jr. (ldr), Morty Stevens (arr), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Sammy Davis, Jr. (v)

Sam Butera, Sammy Davis, Jr. (ldr), Sam Butera and The Witnesses (acc), Sam Butera (arr, con, ts), James Blount (tb), Jack Marshall (g), Amato Rodrigues (b), Willie McCumber (p), Bobby Morris (d), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Ralph Burns (arr), Elliot Lawrence (con), Sammy Davis, Jr. (v)

These performances can be found only on a demonstration record put out by Capitol ahead of the tryout run of "Golden Boy" on the road through Philadelphia, Boston and Detroit from June to September, 1964.

One side featured 4 of Davis' numbers in the show. Two of the songs, "There's A Party Goin' On" and "Yes I Can" were cut from the production by the time it opened on Broadway on Tuesday, 20th October. The flip side featured 6 other numbers from the show (including 3 by Paula Wayne).

Sammy Davis, Jr. (ldr), Sonny Burke (arr, con), Sammy Davis, Jr. (v)

Sonny Burke (arr) on a; (con) on a.

Count Basie, Sammy Davis, Jr. (ldr), Count Basie and His Orchestra (acc), Quincy Jones (arr, con), George Rhodes (arr), Al Aarons, George "Sonny" Cohn, Wallace Davenport, Joe Newman, Eugene "Snooky" Young (t), Henderson Chambers, Henry Coker, Bill Hughes, Grover Mitchell (tb), Marshall Royal (cl, as), Eric Dixon, Salvatore "Sal" Nestico (ts), Charles Fowlkes (bar), Frank Wess (sax), Freddie Green (g), Ray Brown (b), Count Basie (p), Sonny Payne (d), Emil Richards (per), Sammy Davis, Jr. (v, tap)

Quincy Jones (arr) on a-c, e-l; George Rhodes (arr) on d; Sammy Davis, Jr. (tap) on k.

Other discographies note that alternate takes from this session were released as MGM SE-4825 "Sammy Davis, Jr. and Count Basie" in 1973. This is correct, but many of the vocals for that album were re-recorded in 1973. The takes for which Sammy recorded new vocals have been listed under a session in 1973.

Sammy Davis, Jr. (ldr), Ralph Burns (arr), Elliot Lawrence (con), Johnny Brown, Billy Daniels, Sammy Davis, Jr., Paula Wayne (v), "Golden Boy" Company (bkv)

Sammy Davis, Jr. (ldr) on b-c, e-f; (v) on b-c, e-f; Johnny Brown (v) on f; Billy Daniels (v) on a-b; Paula Wayne (v) on b; "Golden Boy" Company (bkv) on b-d, f.

According to the liner notes for the 1993 Angel CD reissue, the recording date for this album was 16th November. However, Michel Ruppli's more recent Capitol discography lists the dates used here. It could be that the November date featured the outstanding songs that did not feature Davis.

While recording the cast album for "Golden Boy" over this and the following session, Davis was suffering from severe laryngitis. His voice was hoarse and husky and he could barely hit any of the notes, but the recording session went ahead regardless. Capitol later re-released the album in 1965 using newly-recorded versions of 4 songs with Davis in (slightly) better voice. (See session dated 1st April, 1965).

Sammy Davis, Jr. (ldr), Ralph Burns (arr), Elliot Lawrence (con), Sammy Davis, Jr., Terrin Miles, Paula Wayne (v)

Terrin Miles (v) on c; Paula Wayne (v) on a.

Sammy Davis, Jr.'s best and worst of times on Reprise

On 20th October, 1964, Sammy Davis, Jr.'s new musical "Golden Boy" opened on Broadway and would run for 568 performances throughout 1965 and into March 1966. The musical was based on Clifford Odets' 1937 play, but had suffered a tortuous path to Broadway - undergoing numerous re-writes, surviving the death of Odets himself, having the original director Peter Coe sacked and replaced by Arthur Penn, and overcoming Davis' periodic bouts of laryngitis. Regardless, "Golden Boy" succeeded due to Davis' star power, and his performance was nominated for a Tony Award for Best Actor in 1965.

Not content with 8 shows a week on Broadway, during this period Sammy also found time to continue recording for Reprise (and his new contract signed 6th September 1965 this time gave him the rights to subsequent recordings), co-author with Burt and Jane Boyar a bestselling autobiography titled "Yes I Can" (published in September 1965), produce and star in a feature film called "A Man Called Adam" (which began filming November 1965 and also starred Cicely Tyson, Louis Armstrong, Frank Sinatra, Jr. and Peter Lawford), and host his own weekly prime-time network variety show (the first African American to do so) on NBC, "The Sammy Davis, Jr. Show", which aired from 7 January to 22 April, 1966.

With the TV show and musical both finished, Davis returned to the Sands Hotel in May 1966. What followed over the next two months were three major highlights of his recording career on Reprise. The first was a live double LP released of Sammy's Sands performances titled "That's All", which serves as a time capsule of Sammy's mid-60s prowess. The second was another live album from the Sands, "The Sounds of '66", this time an early morning show put on specially for performers from other hotels on the Las Vegas strip, and with Sammy accompanied by Buddy Rich on drums and his big band. Both Sammy and Buddy are in swinging form.

Finally, in June and August, Davis recorded an album which many consider to be the apogee of his recording career, "Sammy Davis, Jr. Sings, Laurindo Almeida Plays". Sammy sings with the sole accompaniment of Laurindo Almeida, a Brazilian classical guitarist, and the result is proof that, in the words of jazz critic Will Friedwald, "apart from everything else he could do, when all was said and done, he really was a great singer."

However, as the 1960s drew to a close, this was becoming less and less true. He had another hit single in 1968 with "I Gotta Be Me", which peaked at #11 and became a signature tune. But increasingly, Sammy's Reprise recordings followed the downward trajectory of his career at large. Davis quickly turned to booze and drugs, started wearing the latest fashions, divorced his wife May Britt, and began unintentionally cultivating his image as an aging hipster. In the recording studio he attempted more R&B-styled material, with little success, and started lifting from the Blood, Sweat and Tears songbook.

Sammy Davis, Jr. (ldr), Billy May (arr), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Claus Ogerman (arr), Sammy Davis, Jr. (v)

t, u, v performed as medley.

Sammy Davis, Jr. (ldr), Ralph Burns (arr), Elliot Lawrence (con), Sammy Davis, Jr., Paula Wayne (v)

Paula Wayne (v) on d.

These recordings were used in a re-release of Capitol's cast album recording of "Golden Boy" (see session dated 25 October 1964).

Sammy Davis, Jr. (ldr), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Claus Ogerman (arr), Sammy Davis, Jr. (v)

HX-5184 recorded for the 1966 Bond-spoof film "License To Kill" (aka "The Second Best Secret Agent In The Whole Wide World"). An alternate take of this recording is available for download on iTunes.

Laurindo Almeida, Sammy Davis, Jr. (ldr), Laurindo Almeida (g), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Sammy Davis, Jr. (v)

Laurindo Almeida, Sammy Davis, Jr. (ldr), Laurindo Almeida (g), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Ernie Freeman (arr, con), Jimmy Bowen (pdr), Sammy Davis, Jr. (v)

Ernie Freeman (arr) on a; (con) on a; Jimmy Bowen (pdr) on a.

Sammy Davis, Jr. (ldr), H. B. Barnum (arr), Sammy Davis, Jr. (v, spk)

Sammy Davis, Jr. (v) on a, c; (spk) on b.

Sammy Davis, Jr. (ldr), J. J. Johnson (arr), Sammy Davis, Jr. (v)

d, e;   f, g performed as medleys.

J. J. Johnson (arr) on a-b.

Sammy Davis, Jr. (ldr), Marty Paich (arr, con), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Richard Wess (arr), Sammy Davis, Jr. (v)

Richard Wess (arr) on c-f.

Sammy Davis, Jr. (ldr), Al Capps, Mike Post, Richard Wess (arr), Sammy Davis, Jr. (v)

Al Capps (arr) on a; Mike Post (arr) on b; Richard Wess (arr) on d-f.

One of the recordings from this session made the Billboard Charts. "I've Gotta Be Me" peaked at #11, and was on the charts for 16 weeks.

Sammy Davis, Jr. (ldr), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Al Capps (arr), Sammy Davis, Jr. (v)

Al Capps (arr) on c.

Sammy Davis, Jr. (ldr), Sammy Davis, Jr. (v)

The Pazzazz release only contains a 3-minute excerpt of "Macarthur Park". Curiously, this release also contains the previous unreleased recording of "This Guy's In Love With You" despite being an otherwise cut-price, poor quality collection.

Sammy Davis, Jr. (ldr), Ernie Freeman, Richard Wess (arr), Sammy Davis, Jr. (v)

Ernie Freeman (arr) on a-c; Richard Wess (arr) on d-f.

Sammy Davis, Jr. (ldr), George Rhodes (arr), Sammy Davis, Jr. (v)

Ralph Burns (arr), Joseph Gershenson (con), Sammy Davis, Jr. (v)

This is a master edited from matrix L 15076 (see the session date 16 January, 1969 on the Film and TV Appearances page of this discography), to alter it for release on a 45.

Sammy Davis, Jr. (ldr), George Rhodes, Billy Strange (arr), Jimmy Bowen (pdr), Sammy Davis, Jr. (v)

When Davis left Reprise for Motown in 1970, he took with him the masters of his last two Reprise recording sessions. This material was used in his first Motown album.

There is some thought that Davis' backing band for these two Reprise sessions was "Blood, Sweat and Tears". Some reasons for this include Davis' thanking of B,S&T on record at the end of 'Spinning Wheel', plus the fact that many of the titles recorded were tunes made popular by, or written by members of, B,S&T. However, there is no official recognition of the band, and listenings of the album have determined it is highly unlikely B,S&T were involved.

Sammy Davis, Jr. (ldr), George Rhodes, Billy Strange (arr), Jimmy Bowen (pdr), Sammy Davis, Jr. (v)

Sammy Davis, Jr. signs for Motown Records

It was clear by 1970 that Sammy Davis, Jr.'s music was not selling well on Reprise, and that this was unlikely to change. His manager Sy Marsh decided a change was necessary. Berry Gordy, Jr.'s Motown seemed like a good fit. In the words of Marsh, "the world's number one record producer, who's black, has signed the world's greatest entertainer, who's also black". Part of the deal signed in April 1970 was that a new label be created, called Ecology, and be distributed under the Motown umbrella.

The first move made by Motown was to release the masters Sammy had taken with him from his last two Reprise sessions in October and November 1969. The material was largely covers of Blood, Sweat and Tears songs, and other popular music of the day, and was titled "Something For Everyone". The cover art was outrageous to say the least, featuring Sammy in the midst of what looked like his own personal harem. The album was a commercial failure, which must have given Motown some pause.

Davis laid down new tracks for Motown, although it appears that most were still being produced by his former Reprise producer, Jimmy Bowen. One single was released on the new Ecology label. Other tracks recorded were produced by Marvin Gaye with an eye to releasing a 'real' Motown LP. Motown engineers were also sent to record live concerts at Carnegie Hall. What happened to all these recordings is a mystery - the only details that appear here are of Motown recordings later taken across to MGM by Sammy.

After neither the LP nor the Ecology single sold well, Motown declined to issue another LP. According to Davis' 1989 memoir "Why Me?", Gordy told Marsh they didn't think Sammy had "the Motown sound". Marsh indicated that this wasn't exactly a suprise, and with the threat of going public over Motown's inability to make the Sammy situation work, subsequently talked Gordy into severing the relationship and providing Davis with unreleased material. And so the deal was reached which saw Sammy leave Motown quietly.

Sammy Davis, Jr. (ldr), Ernie Freeman (arr), Jimmy Bowen (pdr), Sammy Davis, Jr. (v)

Despite the fact that Sammy signed with Motown in April of 1970, this session is dated to late 1970 or early 1971 by the content - "In My Own Lifetime" was from the Broadway musical "The Rothschilds" which opened in October 1970, and "I'll Begin Again" was from the movie musical "Scrooge" which opened in November 1970.

The single from this session (the only release on Sammy's Motown label Ecology) was released in March 1971. Once these recordings were bought by MGM, they were given the new master numbers 71L 3925 and 72L 3203 respectively.

Sammy Davis, Jr. (ldr), Perry Botkin, Jr. (arr), Jimmy Bowen (pdr), Sammy Davis, Jr. (v)

These performances are studio recordings bought by MGM from Motown in August 1971. The master numbers listed are those given to the recordings by MGM.

Sammy Davis, Jr. signs for MGM Records

Once he had secured a release from Motown, Sammy Davis, Jr.'s manager, Sy Marsh, sought expressions of interest in signing Sammy, and eventually turned to a man keen to have Davis on his roster - Mike Curb, of MGM Records. Marsh's first priority was to get Curb to release the outstanding Motown material, although Curb had his own ideas about what material might be commercially successful.

Curb's first idea was that of pairing Davis with his own chorus of young singers, the Mike Curb Congregation, on a song that the Congregation had already recorded solo, "The Candy Man". The idea was totally unpalatable to Davis, who had to be convinced to record it, and after doing so considered that "this record is going straight into the toilet. Not just around the rim, but into the bowl, and it may just pull my whole career down with it."

Instead, the very reverse occurred. "The Candy Man" became the most successful single of Davis' career. After debuting on the Billboard Charts on 11th March 1972, the single remained there for 21 weeks, peaking at #1 on 17th June (where it remained for three weeks). MGM then appears to have taken some of the content brought over from Motown, added additional content recorded for MGM, and released the album "Now" in April 1972. It was also successful, charting at #11.

Alongside a still-famous appearance on 19th February on "All In The Family" in which he kissed bigot Archie Bunker, "The Candy Man" briefly reinvigorated Sammy's career. Despite this, subsequent albums on MGM through 1973 and 1974 were largely failures, coming as they did during a period in which Davis' career faced problems, some of a political nature. In July 1971, he had been appointed by President Richard Nixon to the National Advisory Council on Economic Opportunity. He was also asked to go to Vietnam, as a personal emissary of the President, to perform for the troops, and also report back on solutions to prevent soldiers' drug addictions.

Sammy considered the trip (taken in February 1972) an honour, and submitted recommendations to the President upon his return. Davis duly appeared at the Republican National Convention in August 1972 in support of Nixon, hugging him in the process. Davis immediately received heavy criticism from all corners - from blacks, liberals and white racists alike. His live performances, and stints on television shows such as "NBC Follies" were less well received, and he felt alienated from the black community, a cause he had fought hard for during the 1960s. 1973 began a period of five years of heavy drug and alcohol addiction.

He would gain one more signature song, though, in the early 1970s - "Mr. Bojangles". This was another song which Davis only very reluctantly began including in his act (perhaps fearing its autobiographical potential), and once it proved popular, he recorded it for MGM. It soon became the closing number to his act and remained closely identified with him for the rest of his career.

None of Davis' MGM LPs have been directly reissued on CD, and there also remains some unissued material. Many individual recordings have, however, made it onto compilation CDs.

Sammy Davis, Jr. (ldr), Don Costa (arr), Sammy Davis, Jr. (v), The Mike Curb Congregation (bkv)

The Mike Curb Congregation (bkv) on a-b.

"The Candy Man" was on the Billboard Charts for 21 weeks, peaking at #1 (where it remained for three weeks). This was Davis' only US #1 hit. The release, MGM 14320, went Gold, selling over a million copies.

Sammy Davis, Jr. (ldr), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Don Costa (arr), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Isaac Hayes, Onzie Horne (arr), Sammy Davis, Jr. (v)

This recording was placed on a 45, MGM K14370, but the single was never released.

Sammy Davis, Jr. (ldr), Perry Botkin, Jr. (arr, con), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Don Costa (arr), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Don Costa (arr), Sammy Davis, Jr. (v), The Mike Curb Congregation (bkv)

The Mike Curb Congregation (bkv) on c.

Sammy Davis, Jr. (ldr), Don Costa (arr), Sammy Davis, Jr. (v), The Mike Curb Congregation (bkv)

The Mike Curb Congregation (bkv) on c-d.

Sammy Davis, Jr. (ldr), Don Costa (arr), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Michael Viner (pdr), Sammy Davis, Jr. (v)

These recordings do not appear in any listings of MGM masters. MGM dipped into its Verve reservoir and took some alternate takes from Sammy's early Semptember 1964 session with Count Basie and His Orchestra, and re-recorded new vocals (complete with 70s-era affectations) over the top of most tracks. The resulting MGM album was listed as a "repackage" of the Verve album, although only 3 tracks survived unchanged from 1964.

Sammy Davis, Jr. (ldr), Don Costa, Mike Curb, Johnny Harris (pdr), Sammy Davis, Jr. (v)

Mike Curb (pdr) on a; Johnny Harris (pdr) on b.

Sammy Davis, Jr. (ldr), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Sammy Davis, Jr. (v)

Session also included Matrix 73L 5309, which was a 6-part Leslie Bricusse medley (the specific songs included is unknown).

Sammy Davis, Jr. (ldr), Don Costa, Lon Norman (arr), Sammy Davis, Jr. (v), The Mike Curb Congregation (bkv)

Don Costa (arr) on a; Lon Norman (arr) on b; The Mike Curb Congregation (bkv) on a-b.

Sammy Davis, Jr. (ldr), Sammy Davis, Jr. (v)

These songs recorded for a Japanese commercial for "Suntory" Whisky, and were released only on an MGM promotional EP. "Chi-ki Chi-ki Sammy" is barely a song, and is simply the audio track of a commercial which features Sammy bopping along as he pours himself a drink!

Sammy Davis, Jr. (ldr), Nelson Riddle (arr), Sammy Davis, Jr. (v)

b, c, d, e, f, g performed as medley.

Sammy Davis, Jr. (ldr), Nelson Riddle (arr), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Nelson Riddle (arr), Sammy Davis, Jr. (v)

Sammy Davis, Jr. (ldr), Don Costa, Lon Norman (arr), Sammy Davis, Jr. (v), The Mike Curb Congregation (bkv)

Don Costa (arr) on a; Lon Norman (arr) on a; The Mike Curb Congregation (bkv) on b.

Sammy Davis, Jr. (ldr), Don Costa (arr), Sammy Davis, Jr. (v), The Mike Curb Congregation (bkv)

Don Costa (arr) on a; The Mike Curb Congregation (bkv) on b.

Recording Arrangements 1975-1980

The exact arrangements of Sammy's recording career from the mid-1970s onward are somewhat unclear. MGM was sold to PolyGram in 1972, and once they started to phase out the label, Mike Curb left to found Curb Records (which had a distribution deal with Warner Bros.) and formed the Warner-Curb label. Meanwhile, in 1976, PolyGram signed a distribution deal with 20th Century Records.

Therefore, Sammy's recording output from this point onward appears mostly on releases from Warner Bros., Curb Records and 20th Century. In the latter case, many releases were European only. It seems a constant was Mike Curb, who helped produce Sammy's few recordings during this period, which were mostly versions of TV themes. Davis also released live recordings of a concert in Australia in 1977.

The timeframe 1973-1977 saw Davis' heaviest period of drug and alcohol addiction. He became a somewhat unreliable and demanding live performer, and a cariacture of himself on such television shows as his barely watchable (even to Davis in retrospect) syndicated talk-show "Sammy and Company", which ran from April 1975 to early 1978. So it is not surprising that this period also saw Sammy's recorded output wane.

In 1978, Sammy's life began to turn around significantly, in part due to intervention from Frank Sinatra about Davis' substance abuse, in part due to intervention from Davis' own doctors about his alcohol abuse, and in part due to his involvement in a new production of the musical "Stop the World - I Want To Get Off". The production began rehearsals in April, toured from May to July, and opened on Broadway on 3rd August, 1978. The cast album would become Davis' second last LP release.

By 1982, Davis was back on top of his game, and had become a respected headliner again, touring the world to his former acclaim. But his time as a recording artist had long since come and gone. His final full length LP, a Country and Western album recorded in Nashville, was probably a labour of love for someone with a great affinity for all things Western (he had acted in several Westerns on film and television, and in his hey-day he was said to be one of the two fastest draws in Hollywood).

It did, however, provide easily licensable material for a million cut-price CD producers to use in their phony Davis 'Greatest Hits' or Rat Pack collections. This was a final indignity to a recording career that, until recently, has been criminally under-reissued on CD. Part of the blame for this lies with the various problems suffered by the Davis estate in the years following Sammy's death in 1990.

Sammy Davis, Jr. (ldr), Al Capps (arr), Sammy Davis, Jr. (v), The Mike Curb Congregation (bkv)

Al Capps (arr) on a.

"I Can Do That" is a studio recording inserted (with applause) into Warner Bros' release of live performances at the Sydney Opera House in August, 1977 (see the Live Recordings page on this discography). The back-up vocals from this studio recording of "Showtime" were also included on that album over the top of Sammy's live performance of the song.

Sammy Davis, Jr. (ldr), Mike Curb, Michael Lloyd, Jim Vienneau (pdr), Sammy Davis, Jr. (v)

Michael Lloyd (pdr) on a; Jim Vienneau (pdr) on b.

"I Heard A Song" is a tribute to great figures of then-recent American history, recorded for a special double LP featuring multiple artists which was released to celebrate the United States' bicentennary in 1976.

Sammy Davis, Jr. (ldr), Al Capps (arr), Dave Grusin (arr, con), Mike Curb (pdr), Sammy Davis, Jr. (v), The Mike Curb Congregation (bkv)

Al Capps (arr) on b-c, g; Dave Grusin (arr) on a; (con) on a; The Mike Curb Congregation (bkv) on a, d-e.

Sammy Davis, Jr. (ldr), Sammy Davis, Jr. (v)

Two versions of the Alka Seltzer advertising jingle "Plop Plop, Fizz Fizz" were recorded, one a 'Rock Version' and the other a 'Big Band Version'. Each contained a verse of the song that the other version did not have.

Sammy Davis, Jr. (ldr), Sammy Davis, Jr. (v)

This performance of "Life Is A Woman" sees Sammy doing impressions. Its only release so far has been on on a Curb Records 'live' album, and so has had audience applause added.

Sammy Davis, Jr. (ldr), Billy Byers, Joe Lippman (arr), Ian Fraser (arr, con), George Rhodes (con, dir), Sammy Davis, Jr., Marian Mercer (v)

Marian Mercer (v) on a, f-h.

Sources indicate that the cast album for "Stop The World - I Want To Get Off" was recorded during the show's tour on the road in May. From May to July, the show toured San Diego, Los Angeles, Chicago and Toronto, before opening on Broadway on 3rd August, 1978.

Sammy Davis, Jr. (ldr), John D'Andrea (arr), Sammy Davis, Jr. (v), The Mike Curb Congregation (bkv)

Sammy Davis, Jr. (ldr), The Sheldon Kurland Strings (acc), Bill Justin (arr), Larry Butler (pdr, p), James Capps, Steve Chapman, Ray Edenton, Leon Rhodes, Billy Sanford, Jerry Shook (g), Bob "King" Moore (b), Hargus "Pig" Robbins (p), Jerry Carrigan (d), Sammy Davis, Jr. (v), James "Buzz" Cason, Don Gane, Sherlyn Huffman, Lisa Silver, Dianne Tidwell, Bergen White (bkv)

A (somewhat) hideous collection of Country and Western songs. These 10 titles have been released in countless bargain-basement CDs and cheap (and misleading) 'Rat Pack' collections.

Sammy Davis, Jr. (ldr), Willie Hutch (arr, pdr), Gene Page (arr), Sammy Davis, Jr. (v)

Motown 1738 features an instumental version of "Hello, Detroit" on flip side of Sammy Davis, Jr.'s vocal "Hello, Detroit". This was Davis' last hit record, being a chart-topper in Belgium in 1984.

Lena Horne (ldr), Mike Renzi (arr), Sammy Davis, Jr., Lena Horne (v)

Sammy Davis, Jr.'s final studio recording.

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