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Just You, Just Me (1929)

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Origin and Chart Information
Thelonious Monk’s “Evidence” was first titled “Justice” and then “We Named It Justice,” both puns of the song on which it was loosely based, “Just You, Just Me.”

- JW

Rank 90
Music Jesse Greer
Lyrics Raymond Klages

Marion Davies and Lawrence Gray introduced “Just You, Just Me” in the 1929 MGM film Marianne. Also in the cast were Cliff Edwards, George Baxter, and Benny Rubin. Marianne was only moderately successful at the box office. According to Clive Hirschhorn in Hollywood Musicals, it was “the only musical in the history of the genre in which the leading lady and a pig attempt to upstage one another.”


More on Marion Davies at JazzBiographies.com

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“Just You, Just Me” has fared much better than Marianne, becoming the most recognized song written by either Jesse Greer or Raymond Klages. The 1929 Cliff Edwards recording was on the pop charts for two weeks, rising to number 13, and subsequently, “Just You, Just Me” was recorded hundreds of times by over one hundred artists.


Chart information used by permission from
Joel Whitburn's Pop Memories 1890-1954

Lyricist Raymond Klages often partnered with songwriter Jesse Greer. Both wrote many dozens of songs for Broadway and Hollywood musicals during the 1920s and 1930s.


More on Raymond Klages at JazzBiographies.com

More on Jesse Greer at JazzBiographies.com

According to www.monkzone.com the “Official Thelonious Sphere Monk Website,” the (Monk) composition, “Evidence,” which was first recorded on July 2, 1948, went by various names, notably “Justice” and “We Named It Justice,” both puns of the song on which it was loosely based, “Just You, Just Me.” “Just Us” became “Justice” and finally “Evidence.” Both “Just You, Just Me” and “Evidence” are available from a 1964 session on Thelonious Monk’s, Live at the It Club

- Jeremy Wilson

Recommendations for This Tune
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Thelonious Monk
The Unique Thelonious Monk
1991 Original Jazz Classics 64
Original recording 1956
This playful performance is the first of Monk’s numerous recordings of “Just You, Just Me,” which formed the basis for the classic Monk original “Evidence.”
Jaki Byard
Freedom Together!
1997 Label 1898
Original recording 1966
Byard had already come into his own as a pianist by the time of this recording. What few realized, though, was what a fine saxophonist he was also. With two of his most valued cohorts, bassist Richard Davis and drummer Alan Dawson, Byard romps convincingly through this tune on tenor saxophone.
Lester Young, Oscar Peterson Trio
Lester Young with Oscar Peterson Trio

Young gets to really stretch out on this performance, recorded nine years after his quartet version for Savoy. Oscar Peterson and his group play brilliantly and push Young to impressive heights.
Bill Evans
Conversations With Myself
Polygram Records
Original Recording 1963
Evans overdubs multiple piano parts here, interacting with his own playing in creative and surprising ways. Each part he records stands on its own merits, and the combination of them is fascinating.

- Noah Baerman

Nat King Cole
Complete After Midnight Sessions
Blue Note Records

This is Cole’s jazziest vocal album, featuring his trio--John Collins (g), Charlie Harris (b) and Cole on piano--with guests, Lee Young (d), Willie Smith (as), Harry Edison (tp), Stuff Smith (violin), and Juan Tizol (tb). They cover three top standards--“Just You, Just Me,”’ “Caravan,”’ and “Sweet Lorraine.”’
Benny Green
Green's Blues
2001 Telarc 83539
Original recording 2001
In this solo piano outing Green polishes off “Just You, Just Me” with a flurry of notes, displaying the technique that made him Oscar Peterson’s protege.

- Sandra Burlingame

Ella Fitzgerald
Ella Swings Lightly
1992, Polygram 517535
Original recording, 1958
Ella is backed here by the superb Marty Paich Dek-tette in an up-tempo version of "Just You, Just Me."'
Lester Young
Verve Jazz Masters 30
1994, Verve 521859
Original recording, 1943
This is a three-minute version with Johnny Guarneri (p), Slam Stewart (b), and Sid Catlett (d). The CD includes six different small group sessions and is an excellent introduction to the saxophonist. A seven-minute version is available on Lester's In Washington D.C., 1956, Volume Three.

- Jon Luthro

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