segunda-feira, 31 de agosto de 2009

The Collection - Glenn Miller

 
  1. In The Mood
  2. Little Brown Jug
  3. Moonlight Serenade
  4. Chattanooga Choo Choo
  5. A String Of Pearls
  6. St. Louis Blues
  7. Beautiful Dreamer
  8. Pennsylvania 6-5000
  9. American Patrol
  10. Palm Beach Hotel
  11. Londonderry Air
  12. Tuxedo Junction
  13. Swing Passion
  14. Battle For Big Band
  15. Pop Corn
  16. Victoria's Song
The Collection

As Gravações aqui apresentadas são versões "cover" de sucessos consagrados de um renomado artista ou grupo de artistas. As interpretações são praticamente idênticas às originais - principalmente nos arranjos - , sendo que muitas vezes nos deparamos com a dificuldade de reconhecer qual é a verdadeira e qual a "cover version".

O anonimato dos músicos "cover" são uma verdadeira incógnita no mercado discográfico. Não são apresentadas quaisquer informações a respeito da ficha técnica dos músicos, nem quando foram realizadas. O repertório é bem escolhido e o conteúdo faz jus ao artista focalizado, porém não podemos entender por quais motivos os créditos são desconsiderados pela gravadora, nem como em que circunstâncias elas foram comercializadas dessa forma.

Pois bem, fica aí o mistério "cover". Para nós, por enquanto, resta ouvir e apreciar essas "curiosidades" musicais, mesmo não conhecendo seus intérpretes que, diga-se de passagem, são dignos de um talento considerável, mesmo na obscuridade artística.

domingo, 30 de agosto de 2009

Franck Pourcel - Temas Latinos

 
  1. Lanza Perfume (Lança Perfume)
  2. La Flor De La Canela
  3. El Gavilan
  4. Bahia (Na Baixa Do Sapateiro)
  5. El Dia Que Me Quieras
  6. La Cucaracha
  7. Insensible
  8. Momentos
  9. Y Como Es El
  10. Copacabana
  11. Caray
  12. Cielito Lindo
  13. La Bamba
  14. Malagueña
  15. Noche de Ronda
  16. El Manicero
  17. Perfidia
  18. Cumbia Del Papagayo
Temas Latinos

sábado, 29 de agosto de 2009

Bert Kaempfert - Afrikaan Beat - As Melhores Orquestras Do Mundo

 
  1. Afrikaan Beat
  2. Secret Love
  3. Dancing In The Dark
  4. Unchained Melody
  5. Blueberry Hill
  6. Love Me Tender
  7. Blue Moon
  8. When I Fall In Love
  9. Yellow Bird
  10. Symphony
  11. I Will Never Stop Loving You
  12. Everybody Loves Somebody
Afrikaan Beat

sexta-feira, 28 de agosto de 2009

David Rose - The Very Best Of David Rose

 
  1. Love Is A Many Splendored Thing
  2. Holiday For Strings
  3. Forbidden Planet
  4. Holiday For Trombones
  5. Calypso Melody
  6. Swinging Shepherd Blues
  7. Like Young (With Andre Previn)
  8. Bonanza
  9. Ponderosa
  10. Hoss
  11. The Stripper
  12. How The West Was Won
The Very Best
 
David Rose was one of the most talented conductors and composers in modern music history. But it would be television that would give him his greatest commercial success. He ultimately recorded over 1000 TV scores through the 80's and a survey done in 1959 showed that his music was used as themes for 22 television series at the same time including "Highway Patrol" and "Sea Hunt". His legendary movie work included scores for over 36 films in the 40's, 50's and 60's. And as a recording artist and conductor, David Rose had also produced a number of other compositions that became well known in serious musical circles; "Dance Of The Spanish Onion", and "Our Waltz" which he used as his radio theme, both written in 1942, and the well known "Holiday For Strings" written in 1943, which he recorded originally for RCA Victor.

Born in London, England on June 15, 1910, Rose moved to Chicago when he was 4. He received his academic education in public schools and his musical training at the Chicago College Of Music. In 1926, he worked as a pianist for Ted Fio Rito And His Orchestra. In 1929, he first worked for NBC in Chicago, moving in 1938 to Hollywood, California, assuming the post of music director of the Mutual radio network. For four years, during World War II, he saw service in the American Air Force, when he officiated as composer and music director of Moss Hart's Air Force stage production of "Winged Victory". In 1943, he wrote "Holiday For Strings" which brought him fame as a composer by selling several million records; in 1944 he wrote the popular "Poinciana". David Rose was married from 1938-1941 to actress Martha Raye, and later became the first of Judy Garland's five husbands. That marriage lasted from 1941-1943.

After the war, Rose conducted extensively over the radio and on records. He is credited with being the first to use an echo chamber for special sound effects. After serving as music director for numerous radio programs, he fulfilled a similar function for television, which was to make abundant use of his creative as well as performing talent. In 1959 Rose won an Emmy in the category of "best musical contribution to a television program" for his musical direction of "An Evening With Fred Astaire" over NBC. He also wrote the score for the TV series "Little House On The Prairie". While at the M-G-M label, he also did the musical background for Connie Francis' hit "My Happiness".

This collection concentrates on some of Rose's output for the M-G-M label, of which he recorded from 1949-1963. "Holiday for Strings" is a 1950 M-G-M remake of his original RCA hit, which would also lead to the similar "Holiday For Trombones". His version of "Love Is A Many Splendored Thing" is from the movie of the same name. Rose fought for chart position with his 1958 recording of "Swingin' Shepherd Blues" which saw 2 other versions of the hit on the charts along with his that year. "Forbidden Planet" was written for the movie but was later dropped from the score. "Calypso Melody" was a chart hit in 1957 during a calypso music craze. His recording duet of "Like Young" (with pianist/conductor/composer Andre Previn) won him a Grammy in 1960 for best orchestral performance. An Emmy was awarded to him in the 60's for "special distinction in musical composition for television" for a segment of music used in the TV show "Bonanza". Three of the tracks from the Bonanza soundtrack, "Bonanza", "Ponderosa" and "Hoss" appear here. But it was his 1962 smash hit "The Stripper" that many remember when hearing the name David Rose. The song was adpted from a short piece originally created for the 1958 TV show "Burlesque" of which he wrote the score. Later M-G-M needed a B side for the single "Ebb Tide" and ended up using "The Stripper". A Los Angeles D.J. liked the B side better and made it a southern California hit, which caught the attention of both M-G-M and the coutry's D.J.'s. And the rest, as they say, is history.

David Rose died of heart disease in Burbank, California on August 23, 1990. He left us a wonderful legacy of great music that will live forever.

From liner notes by Steve Kolanjian

quinta-feira, 27 de agosto de 2009

The Clebanoff Strings & Orchestra - Besame Mucho

 
  1. Beasme Mucho
  2. Malagueña
  3. My Shawl
  4. Taboo
  5. Brazil
  6. Andalucia
  7. La Macarena
  8. El Humahuaqueño
  9. Solamente Una Vez
  10. Orpheu Negro
  11. Granada
  12. La Paloma
  13. El Manicero
  14. Quiereme Mucho
  15. Cumana
  16. Garota de Ipanema
  17. Misirlou
  18. Quizas, Quizas, Quizas
  19. Hava Nagila
  20. Jungle Drums
Besame Mucho

Maestro Clebanoff led Mercury Records' answer to Mantovani and the other string groups that were a mandatory element of any self-respecting space age pop label's repertoire. Son of Russian emigrants, Clebanoff grew up in Chicago, where he bagen studying the violin at the age of five. By the time he was in high school, he was already an experienced concertmaster and first chair violinist in several string quartets. By age twenty, he was both concertmaster of the Chicago Civic Orchestra and youngest member of the Chicago Symphony.

He took a step down and joined Illinois' Works Progress Administration (WPA) symphony in 1939, with which he toured and played to a wide variety of audiences. He also met and married his wife, Helen Margolyne, a soprano with the Chicago Civic Opera, during this time. He returned to Chicago and became a staff musician with NBC radio. In 1943, he took a leave of absence to work in New Orleans for two years as the concertmaster and assistant conductor of the New Orleans Symphony.

He returned to NBC in Chicago in 1945 and spent the next 10 years as concertmaster for the orchestra, playing everything from classical repertory to popular tunes to incidental music. Working for the network also exposed him to the technology and techniques of sound recording. Mercury's Chicago music director, David Carroll brought him to the label, and Clebanoff's first album, Moods in Music--grabbing on the coattails of George Melachrino's then-successful series of mood music albums for RCA Victor--was released.

Clebanoff moved to Los Angeles around 1960 as Mercury consolidated its recording activities in Hollywood, and continued to produce a steady series of albums for the label well into the mid-1960s. As time went by, his material shifted from light classical and pop standards to current hits, leading to such interesting, if not entirely successful, specimins as a cover of the surf standard, "Pipeline."

The Clebanoff albums to look for are his Exciting Sounds and Strings Afire, from Mercury's wonderful Perfect Presence series of gatefold stereo showcase albums. Arrangers Wayne Robinson and Caesar Giovannini enlist the talents of such stellar West Coast session percussionists as Irv Cottler, Mike Pacheco, and Shelley Manne to provide a powerful percussive boost to Clebanoff's rich string sound. The result is a very satisfying piece of stereo craftsmanship, heightened by great material like "Quiet Village," "Strings Afire," "Turkish Harem Dance," and Xavier Cugat's "My Shawl."

Recordings:

    * Moods in Music, Mercury SR60005
    * Songs from Great Films, Mercury SR 60017
    * Songs From Great Operettas, Mercury SR60148
    * King of kings & 11 Other Great Movie Themes, Mercury
       SR 60640
    * Twelve great songs of all time, Mercury SR60720
    * Songs from Great Shows, Mercury MG20416
    * Great Songs from the Continent, Mercury MG20484
    * World's Great Waltzes, Mercury MG20577
    * Lush Latin & Bossa Nova, Too, Mercury MG20824
    * Exciting Sounds, Mercury PPS 6012
    * Strings Afire, Mercury PPS 6019
    * Today's Best Hits, Mercury SR 60791
    * Lush, Latin & Bossa Nova Too!, Mercury SR60824
    * Strings Afire in Spain, Mercury SR 60876
    * Country Music for People Who Hate Country Music, Mercury
       SR 60949

From spaceagepop.com

quarta-feira, 26 de agosto de 2009

The Riga Recording Studio Orchestra - The Best Of Frank Sinatra

  1. Summer Wind
  2. From Here To Eternity
  3. Love And Marriage
  4. Witchcraft
  5. What Now My Love
  6. That's Life
  7. My Way
  8. Somethin' Stupid
  9. September In The Rain
  10. I Only Have Eyes For You
  11. High Hopes
  12. It Was A Very Good Year
The Best of Frank Sinatra
Performed by The Riga Recording Studio Orchestra
Arranger: Gunars Rozenbergs
Conductor: Gunars Rozenbergs
Recorded in Riga Recording Studio - Riga, Latvia

segunda-feira, 24 de agosto de 2009

Billy Vaughn and His Orchestra - Dancing with Billy Vaughn

 
  1. Cocoanut Grove
  2. To Each His Own
  3. Peg O' My Heart
  4. Pinetop's Boogie Woogie
  5. San Antonio Rose
  6. September Song
  7. Slow Poke
  8. The Perfect Song
  9. Josephine
  10. Heartaches
  11. Laura
  12. I'm Looking over a Four Leaf Clover
Dancing with Billy Vaughn

domingo, 23 de agosto de 2009

The Collection - James Last - Unknown Artists

 
  1. Mathilda / Guantanamera / Oh Marie / Those Were The Days / Hey Jude
  2. Bottle Of Wine / Hold Me Tight / Mrs. Robinson
  3. What Now My Love / Something Stupid / Puppet On A String
  4. Love Is Blue / What A Wonderful World / This Guy's In Love With You
  5. Delilah / Congratulations / A Banda
  6. Lady Madonna / Simon Says / Young Girl
  7. Danny / MacArthur Park
  8. Wreck Of The Antoinett
  9. Chopin Etude In E
  10. Can't Take My Eyes Off You / Lady Willpower / Help Yourself
  11. Help Yourself / My Name Is Jack
  12. La Bamba
  13. Stundenwalzer (Dance Of The Hours)
  14. Canadian Express
  15. Down By The Riverside
  16. Greensleaves
  17. Ballroom Cocktail
  18. Scotch Party
The Collection

Franck Pourcel - Meus Momentos

 
  1. Concorde
  2. Somewhere, My Love (Lara's Theme From "Dr. Zhivago")
  3. Aranjuez, Mon Amour (Adagio From Concierto De Aranjuez)
  4. La Mer
  5. Misty
  6. Un Homme Et Une Femme
  7. This Is My Song
  8. Love Me, Please Love Me
  9. Michelle
  10. Les Parapluies De Cherbourg
  11. I Love Paris
  12. La Boheme
  13. Love Me Tender
  14. Emmanuelle
Meus Momentos

sábado, 22 de agosto de 2009

Hugo Winterhalter - The Very Best Of Hugo Winterhalter and his orchestra

 
  1. Count Every Star
  2. I Wanna Be Loved
  3. Mr. Touchdown, U.S.A.
  4. Beyond The Blue Horizon
  5. Blue December
  6. A Kiss To Build A Dream On
  7. Blue Tango
  8. Somewhere Along The Way
  9. Vanessa
  10. Blue Violins
  11. Music Box In Blue
  12. The Velvet Glove
  13. Latin Lady
  14. The Little Shoemaker
  15. The Magic Tango
  16. Song Of The Barefoot Contessa
  17. Land Of Dreams
  18. The Little Musicians
  19. Canadian Sunset
  20. Swingin' Sweethearts
The Very Best

From the time he started playing violin at age six, Hugo Winterhalter was destined for a life highlighted by a soundtrack of shimmering strings. Born on August 15, 1909 in Wilkes-Barre, Pennsylvania, he grew from a precocious childhood into being a serious student of both violin and reed instruments. He graduated from the New England Conservatory, contributed woodwinds to various orchestras, and was performing for dance bands by the mid-1930s.

As the Big Band era thrived, Winterhalter worked with such luminaries as Benny Goodman, Claude Thornhill, and the baritone megastar Vaughn Monroe. In 1944, he finally had the opportunity to write his first string arrangement for none other than Tommy Dorsey. This was the Winterhalter watershed. From then on, he would hold his listeners under the spell of massed violins while being among the first to embellish "swing" with traditional symphonic instruments.

Like many who faced Big Band's demise in the postwar years, Winterhalter reinvented himself not only by arranging for celebrity vocalists but also by becoming a maestro of mood music, an art that specializes in placing the tantalizing backup orchestras into the forefront. He inevitably made his mark in a pantheon of American pop orchestral giants that includes Percy Faith, Farnk DeVol, and Andre Kostelanetz.

In 1950, after working for MGM and Columbia, Winterhalter made his most significant career move as head Musical Director of RCA Records. There he would arrange backings for major singers like Perry Como, Eddie Fisher, Jaye P. Morgan, and The Ames Brothers. His most intriguing contributions, however, were his own records. They included albums often dedicated to subjects like love, travel, and the allure of television themes. He would go into more "classical" directions by leading the Milwaukee and Washington Symphony orchestras, but mood music would be this true forte until his demise in 1973.

Winterhalter also had a roster of hit singles through the 1950s, most of which are specially assembled for this collection. In this fine sampling of Winterhalter's sound palette, stringswept backgrounds blend with heavenly choruses; spicy rhythms, sparkling keyboards and lilting guitars add color but never stray from the catchy melodies. With ethereal vocals and tener horns, he delivers the ultimate Lover's Lane theme on "Count Every Star". He fluctuates from fairy light pizzicato to elegant waltz on "Vanessa" and champions a wistfully exotic style on tracks like "The Velvet Glove" (featuring Henri Rene's musette accordion) and a crisp rendition of Leroy Anderson's "Blue Tango".

Winterhalter had a penchant for approaching music through the ears of a child. "Little Musicians" demonstrates this playful side with its kazoo introduction and kittenish serenade. The ear-tickling combination of celeste and pizzicato on "Music Box In Blue" suggests Tchaikovsky's "Nutcracker" time-shifted into the dreamland of 20th Century pop. "The Little Shoemaker" and "The Magic Tango" (both originally credited to Hugo Winterhalter's Orchestra & Chorus and a Friend) have Eddie Fisher leading the chorus in a happy-go-lively fashion.

Citing the impressionist composer Claude Debussy as among his greatest influences, Winterhalter likewise uses music to create memory-evoking pictures, a talent that makes him ideal for adapting movie themes. "Beyond The Blue Horizon" (from Ernst Lubitsch's 1930 film Monte Carlo) suggests the delectably frothy images associated with early Hollywood musicals. The percussive buildup of "Song Of The Barefoot Contessa" (apparently inspired by Ravel's "Bolero") conjures the tempest of seduction and suspense from the 1954 feature in which Ava Gardner portrays a Spanish dancer who catches Humphrey Bogart's eye.

Among Winterhalter's most notable sonic postcards are "Land Of Dreams" and his 1956 hit "Canadian Sunset" (his biggest at Billboard's #2). These represent the art of melodic globetrotting at its best. Both are distinguished by Eddie Heywood's urbane piano, but the biggest draw is once again the lush orchestral backdrop that, like a starry night or a blue horizon, lures eager travelers through an itinerary that offers mystery, romance and healthy doses of good-natured humor.

Joseph Lanza *

* Joseph Lanza is the author of "Elevator Music: A Surreal History of Muzak, Easy-Listening and Other Moodsong" (St. Martin's Press/Picador)

sexta-feira, 21 de agosto de 2009

Bert Kaempfert - Blue Midnight And Other Fabulous Instrumentals

 
  1. Blue Midnight
  2. L-O-V-E (Love)
  3. Red Roses For A Blue Lady
  4. Java
  5. Almost there (from the Ross Hunter production "I'd Rather Be Rich" A Universal Picture)
  6. Lonely Nightingale
  7. Cotton Candy
  8. Three O'Clock In The Morning
  9. Free As A Bird
  10. Love Comes But Once
  11. Treat For Trumpet
  12. Goodnight Sweet Dreams
Blue Midnight
Loyal Bert Kaempfert fans will be glad to welcome another of his great albums into circulation. And by the very nature of the music in this release, Bert bids fair to add many a new fan to his following.

Who wouldn't respond to a collection of dynamically exciting instrumentals that are eminently danceable and that offer a happy blend of tested standards and bright new originals?

The songs encompass every tempo, from the happy strains of 'Cotton Candy' to the tasty and danceable arrangement of 'Love'. There's the sure-fire appeal of the familiar in such standards as 'Red Roses For A blue Lady', and the poignant, wee-small-hours nostalgia of 'Three O'clock In The Morning'. There's also the very specialized treatment you would expect from a Bert Kaempfert original on such a number as 'Treat For Trumpet'.

That glowing trumpet sound, of course, is the trademark of any Bert Kaempfert recording. And here again, the special soaring quality of the sound puts it in a Kaempfert class by itself.

Credit the talented Fred Moch, who is featured on the trumpet solos; but, most of all, recognize the distinctive touch that Bert's conducting and arranging genius lend to every number.

This is a real musician, one whose mastery of popular music is emphasized with each new recording triumph. Enjoy "Blue Midnight" and these other great instrumentals. They in the inimitable style of Bert Kaempfert - and who could ask for anything more?

(Original LP liner notes)

quinta-feira, 20 de agosto de 2009

Ray Conniff, his Orchestra and Chorus - You Make Me Feel So Young

 
  1. You Make Me Feel So Young
  2. My Old Flame
  3. Patricia, It's Patricia
  4. An Affair To Remember
  5. Lullaby Of The Leaves
  6. In The Cool, Cool, Cool Of The Evening
  7. Caravan
  8. Solitude (Trumpet solo by Jimmy Salko)
  9. Third Man Theme
  10. What Kind Of Fool Am I? (Guitar solo by Al Henderickson)
  11. With My Eyes Wide Open, I'm Dreaming
  12. Frenesi (Flute solo by John Lowe; Trumpet solo by Conrad Gozzo)
You Make Me Feel So Young
Produced by Ernie Altschuler
Production Supervisor: Bob Ballard
Cover Photo: Frank Bez

Different...distinctive...always delighful, best describe the skillful blending of sound and rhythm that add up to the special styling of Ray Conniff. Acting in the capacity of conductor-arranger, Conniff uses the combination of orchestra and chorus to achieve an effect that is all at once original and pleasing to the ear. Female voices, for example, double with trumpets, high saxophones or clarinets; male voices with trombones, trumpets or saxophones in lopw register.

Although the musical mood changes with each selection, the same excitement and capacity to make you feel so young are always evident. Ray Conniff's in charge - and he's etched his name on every note!

(From the original liner notes)

quarta-feira, 19 de agosto de 2009

Billy Vaughn and his orchestra - The Golden Instrumentals

 
  1. Blue Tango
  2. Song From Moulin Rouge
  3. Bewitched
  4. O, Mein Papa
  5. Pretend
  6. Ebb Tide
  7. Autumn Leaves
  8. Lisbon Antiqua
  9. Cherry Pink And Apple Blossom White
  10. Unchained Melody
  11. Poor People Of Paris
  12. Third Man Theme
Golden Instrumentals

Helmut Zacharias - Golden Sounds of Helmut Zacharias

 
  1. Raindrops Keep Falling On My Head
  2. Tokyo Melodie
  3. Something
  4. Little Green Apples
  5. Claire
  6. Mein Herz Ist EineVioline
  7. Moon River
  8. Never On Sunday
  9. Boogie Fur Geige
  10. Der Sommerwind
  11. Moskauer Nachte
  12. Love Is A Many Splendored Thing
  13. Blue Blues (Ein Wunder)
  14. As Time Goes By
  15. Unforgettable
  16. Tara's Theme (From 'Gone With The Wind')
Golden Sounds 

 
Born: January 27, 1920 in Berlin, Germany
Died: February 28, 2002 in Brissago, Switzerland

German virtuoso Helmut Zacharias, a child prodigy who defied the Nazis and came to be called the "best jazz violinist in the world", has died in Switzerland, his daughter announced Friday. He was 82.

He succumbed to Alzheimer's disease at a nursing home in Brissago on the shores of Lago Maggiore in Switzerland.

In a career which spanned eight decades, Zacharias charmed audiences with his witty, jazzy renditions of classical motifs and pop themes. His last public performance was in December 1995 when he appeared on a nationally broadcast television show in Germany.

Already diagnosed with Alzheimer's at the time, he retired to a sanatorium in Switzerland immediately afterwards.

He was born in Berlin in 1920 into a musical family. As soon as he could stand, at 2-and-a-half, his father put a toy violin in his hand. It was made of tin and imitation fine wood, but he was soon able to play simple tunes on it.

Before he could read he was already proficient at sightreading music - leading his father to let his now 4-year-old son undertake serious musical instruction on the violin.

By the age of six he was performing on the cabaret stage of the Faun club on Friedrichstrasse in the heart of the entertainment district in giddy 1920s Berlin. The Faun was a model for Christopher Isherwood's fictional Berlin nighterie which became the Kit Kat Klub in the stage and film version "Cabaret".

He made his radio debut at age 11 with Mozart's Violin Concerto in G-major. By the age of 14, Zacharias was making concert tours beyond Berlin's limits, finally landing a year later - 1935 - in Berlin's legendary Wintergarten music hall theatre, billed as the world's youngest violin virtuoso.

In 1936, he was now 16, he registered at the Academy of Music in Berlin, becoming Professor Gustav Havemann's youngest student. In 1937, he won the Bernard Molique Prize and in 1938 the Fritz Kreisler Academy Prize.

The clouds of war were already moving across Germany at the time. Nevertheless, in 1939, he toured Europe with the Berlin Chamber Orchestra, an ensemble formed from the Philharmonic, under the direction of Hans Benda.

During the war, Zacharias defied a Nazi ban on "decadent" Swing music to form his own Big Band. Under the noses of Nazi officials, the band held a recording session at the Odeon Studios on Schlesische Strasse in the heart of Berlin in November 1941, producing three records.

A stint in the Wehrmacht interrupted his musical career and he returned to a war-ruined Berlin after V-E Day in 1945 to help set up post-war Germany's first radio orchestra for newly founded Berlin Radio.

He was soon a featured soloist at other German radio orchestras, which sprang up after the war to fill the yearning amongst a war- weary nation for cultural entertainment.

By 1950, he was to be heard on all German radio stations, and AFN Frankfurt called him the "Best Jazz Violinist in the World." A series of recordings of him as soloist, composer, arranger and conductor of large and small orchestras was made in the venerable Baroque Hall of the Musikhalle in Hamburg.

Deutsche Grammophon, which had its headquarters in the Musikhalle, gave him a contract under the Polydor label, launching him on an international career.

He composed more than 400 works and sold 13 million albums.

From jazzhouse.org

terça-feira, 18 de agosto de 2009

Fantastic Strings - My Favorites - Vol. 1

 
  1. Yesterday
  2. I Left My Heart In San Francisco
  3. A Man Without Love
  4. Ballade PourAdeline
  5. Somewhere My Love
  6. Softly, As I Leave You
  7. Serenade
  8. The Girl From Ipanema
  9. Autumn Concerto
  10. Symphony Nº 40
  11. Something
  12. The Shadow Of Your Smile
  13. I've Grown Accustomed To Her Face
  14. Let It Be
  15. Ode To Billy Joe
  16. By The Time I Get To Phoenix
My Favorites 1

domingo, 16 de agosto de 2009

Billy Vaughn and His Orchestra - A Swingin' Safari

 
  1. A Swingin' Safari
  2. (It's No) Sin
  3. Born To Be With You
  4. Alone
  5. Glow Worm March
  6. In The Chapel In The Moonlight
  7. Sunday In Madrid
  8. Love Letters In The Sand
  9. Blue Flame
  10. A Fool Such As I
  11. Throw Another Log On The Fire
  12. When The Saints Go Marching In
A Swingin' Safari

sábado, 15 de agosto de 2009

Romantic Strings - Unforgettable Instrumentals - Vol. 1

 
  1. Sailing
  2. Verde
  3. Feelings
  4. Dolannes Melodie
  5. Serenade
  6. Nights In White Satin
  7. Ballade Pour Adeline
  8. House Of The Rising Sun
  9. Something
  10. Molto Allegro
Unforgettable Instrumentals 1

sexta-feira, 14 de agosto de 2009

Les Paul - Meus Momentos

 
  1. Lover
  2. Brazil (Aquarela do Brasil)
  3. Three Little Words
  4. The Carioca
  5. Mr. Sandman
  6. How High The Moon
  7. St. Louis Blues
  8. I'm Confessin'
  9. Someday Sweetheart
  10. No Letter Today
  11. Twefht Street Rag
  12. Magic Melody
  13. Fire (I'm Keeping My Heart Away From Fire)
Meus Momentos
Nossa homenagem ao grande e extraordinário Les Paul. Sua guitarra ecoará sempre em nossos corações.

 
Lester William Polsfuss, known as Les Paul (June 9, 1915 – August 13, 2009) was a pioneer in the development of the solid-body electric guitar which "made the sound of rock and roll possible." His many recording innovations included overdubbing (also known as sound on sound), delay effects such as tape delay, phasing effects, and multitrack recording.

His innovative talents extended into his unique playing style, including licks, trills, chording sequences, fretting techniques and timing, which set him apart from his contemporaries and inspired many of the guitarists of the present day.

He was born in Waukesha, Wisconsin to George and Evelyn Polsfuss. The family name was first simplified by his mother to Polfuss before he took his stage name of Les Paul. He also used the nickname "Red Hot Red".

Paul first became interested in music at the age of eight, when he began playing the harmonica. After an attempt at learning to play the banjo, he began to play the guitar. By 13, Paul was performing semi-professionally as a country-music guitarist. At the age of 17, Paul played with Rube Tronson's Texas Cowboys, and soon after he dropped out of high school to join Wolverton's Radio Band in St. Louis, Missouri on KMOX.

In the 1930s, Paul worked in Chicago in radio, where he performed jazz music. Paul's first two records were released in 1936. One was credited to Rhubarb Red, Paul's hillbilly alter ego, and the other was as an accompanist for blues artist Georgia White.

In January 1948, Paul was injured in a near-fatal automobile accident in Oklahoma, which shattered his right arm and elbow. Doctors told Paul that there was no way for them to rebuild his elbow in a way that would let him regain movement, and that his arm would remain permanently in whatever position they placed it in. Paul then instructed the surgeons to set his arm at an angle that would allow him to cradle and pick the guitar. It took him a year and a half to recover.

Paul was dissatisfied with the acoustic guitars that were sold in the mid 1930s and began experimenting with a few designs for an electric model on his own. Famously, he created "The Log," which was nothing more than a length of common 4" x 4" lumber with bridge, guitar neck, and pickup attached. For the sake of appearance, he attached the body of an Epiphone hollow-body guitar, sawn lengthwise with The Log in the middle. This solved his two main problems: feedback, as the acoustic body no longer resonated with the amplified sound, and sustain, as the energy of the strings was not dissipated in generating sound through the guitar body.

In 1938, Paul moved to New York as part of a trio that included Jim Atkins (older half-brother of guitarist Chet Atkins) and bassist/percussionist Ernie Newton. They landed a featured spot with Fred Waring's Pennsylvanians radio show. Paul moved to Hollywood in 1943, where he formed a new trio. As a last-minute replacement for Oscar Moore, Paul played with Nat King Cole and other artists in the inaugural Jazz at the Philharmonic concert in Los Angeles on July 2, 1944. Also that year, Paul's trio appeared on Bing Crosby's radio show. Crosby went on to sponsor Paul's recording experiments. The two also recorded together several times, including a 1945 number one hit, "It's Been A Long, Long Time." In addition to backing Crosby and artists like The Andrews Sisters, Paul's trio also recorded a few albums of their own on the Decca label in the late 1940s.

Paul's innovative guitar, "The Log", built in 1939, was one of the first solid-body electric guitars. (Leo Fender also independently created his own solid-body electric guitar around the same time and Adolph Rickenbacher had marketed a solid-body guitar in the 30s). Gibson Guitar Corporation designed a guitar incorporating Paul's suggestions in the early fifties, and presented it to him to try. He was impressed enough to sign a contract for what became the "Les Paul" model (originally only in a "gold top" version), and agreed never to be seen playing in public, or be photographed, with anything other than a Gibson guitar.

The arrangement persisted until 1961, when declining sales prompted Gibson to change the design without Paul's knowledge, creating a much thinner, lighter, and more aggressive-looking instrument with two cutaway "horns" instead of one. Paul said he first saw the "new" Gibson Les Paul in a music store window, and disliked it. Though his contract required him to pose with the guitar, he said it was not "his" instrument, and asked Gibson to remove his name from the headstock. (Others claimed that Paul ended his endorsement contract with Gibson during his divorce, to avoid having his wife get his endorsement money.) Gibson renamed the guitar "Gibson SG" (which stands for "Solid Guitar"), and it also became one of the company's best sellers.

The original Gibson Les Paul guitar design regained popularity when Eric Clapton began playing the instrument a few years later (although he also played an SG and an ES-335). Paul resumed his relationship with Gibson, and endorsed the original Les Paul guitar from then on (though his personal Gibson Les Pauls were much modified by him — Paul always used his own self-wound pickups and customized switching on his guitars). To this day, various models of Gibson Les Paul guitars are used all over the world, by both novice and professional guitarists. A less expensive version of the Les Paul guitar is also manufactured for Gibson's lower-priced Epiphone brand.

In 1948, Capitol Records released a recording that had begun as an experiment in Paul's garage, entitled "Lover (When You're Near Me)", which featured Paul playing eight different parts on electric guitar, some of them recorded at half-speed, hence "double-fast" when played back at normal speed for the master. ("Brazil", similarly recorded, was the B-side.) This was the first time that multi-tracking had been used in a recording. These recordings were made not with magnetic tape, but with acetate disks. Paul would record a track onto a disk, then record himself playing another part with the first. He built the multi-track recording with overlaid tracks, rather than parallel ones as he did later. There is no record of how many "takes" were needed before he was satisfied with one layer and moved onto the next.

Paul even built his own disc-cutter assembly, based on auto parts. He favored the flywheel from a Cadillac for its weight and flatness. Even in these early days, he used the acetate disk setup to record parts at different speeds and with delay, resulting in his signature sound with echoes and birdsong-like guitar riffs. When he later began using magnetic tape, the major change was that he could take his recording rig on tour with him, even making episodes for his 15-minute radio show in his hotel room. Later he worked with David Sarser in the design of the first 8 track recording deck (built for him by Ampex for his home studio.)

Electronics engineer Jack Mullin had been assigned to a US Army Signals unit stationed in France in WWII. On a mission in Germany near the end of the war, he acquired and later shipped home a German Magnetophon (tape recorder) and 50 reels of I.G. Farben plastic recording tape. Mullin rebuilt and developed the machine back in the US with the intention of selling it to the movie industry, and held a series of demonstrations which quickly became the talk of the US audio industry. Mullin's second demonstration was witnessed by Murdo MacKenzie, technical director for the Bing Crosby radio show.

Within a short time Crosby had hired Mullin to record and produce his radio shows and master his studio recordings on tape, and he invested US$50,000 in local electronics firm Ampex. With Crosby's backing Mullin and Ampex created the Ampex Model 200, the world's first commercially-produced reel-to-reel audio tape recorder. Crosby gave Les Paul the second Model 200 to be produced and Les immediately saw its potential both for special effects, like echo, and eventually its suitability for multitrack recording, of which he is considered the father. Using this machine, Paul placed an additional playback head, located before the conventional Erase-Record-Playback heads. This allowed Paul to play along with a previously recorded track, both of which were mixed together on to a new track. Keep in mind that this was a mono tape recorder - just ONE track across the entire width of quarter-inch tape - and so the recording was 'destructive' in the sense that the original recording was erased and replaced with the new recording.

One need only listen to any of the early Capitol recordings from the early 1950s to realize how great a challenge this process was. These revolutionary recordings were made with his wife, Mary Ford, who sang. The couple's hits included "How High the Moon", "Bye Bye Blues", "The World Is Waiting for the Sunrise", and "Vaya Con Dios". These songs featured Mary harmonizing with herself, giving the vocals a very novel sound.

Les Paul's need for multiple non-destructive tracks was obvious and his re-invention of the Ampex 200 inspired Ampex to develop two-track and three-track recorders. These machines were the backbone of professional recording, radio and television studios in the 1950s and early 1960s. In 1954, Paul continued to develop this technology by commissioning Ampex to build the first eight track tape recorder, at his expense. The machine took three years to get working properly, and Paul said that by the time it was functional his music was out of favor and so he never had a hit record using it. His design became known as "Sel-Sync," (Selective Synchronization) in which a specially modified electronics could either record or playback from the Record Head, which was not optimized for playback but was acceptable for the purposes of recording an "overdub" (OD) in sync with the original recording. This is the core technology behind multi-track recording.

Like Crosby, Paul and Ford also used the now-ubiquitous recording technique known as close miking, where the microphone is less than six inches from the singer's mouth. This produces a more intimate, less reverberant sound than is heard when a singer is a foot or more from the microphone. When implemented using a cardioid-patterned microphone, it emphasizes low-frequency sounds in the voice due to a cardioid microphone's proximity effect and can give a more relaxed feel because the performer isn't working so hard. The result is a singing style which diverged strongly from un-amplified theater-style singing, as might be heard in musical comedies of the 1930s and 40s.

Paul had hosted a 15-minute radio program, The Les Paul Show, on NBC in 1950, featuring his trio (himself, Ford, and rhythm player Eddie Stapleton) and his electronics, recorded from their home and with gentle humour between Paul and Ford bridging musical selections, some of which had already been successful on records, some of which anticipated the couple's recordings, and many of which presented dazzling re-interpretations of such jazz and pop selections as "In the Mood," "Little Rock Getaway," "Brazil," and "Tiger Rag." Several recordings of these shows survive among old-time radio collectors today.

The show also appeared on television a few years later with the same format, but excluding the trio and retitled The Les Paul & Mary Ford Show (aka Les Paul & Mary Ford At Home) with "Vaya Con Dios" as a theme song. Sponsored by Warner Lambert's Listerine, it was widely syndicated during 1954-'55, and was only five minutes (one or two songs) long on film, therefore used as a brief interlude or fill-in in programming schedules. Since Les created the entire show himself, including audio and video, he maintained the original recordings and was in the process of restoring them to up-to-date quality up until his death.

During his radio shows, Paul introduced the legendary "Les Paulverizer" device, which multiplies anything fed into it, like a guitar sound or a voice. Paul has stated that the idea was to explain to the audience how his single guitar could be "multipled" into an orchestra. The device even became the subject of comedy, with Ford multiplying herself and her vacuum cleaner with it so she could finish the housework faster. Later Paul claimed to have made the myth real for his stage show, using a small box attached to his guitar, which was really just a stage prop. He typically pretended to lay down one track after another on stage, in-sync, and then play over the repeating forms he had recorded.

In the late 1960s, Paul went into semi-retirement, although he did return to the studio occasionally. He and Mary Ford (born Iris Colleen Summers) had divorced in December 1964, as she could no longer countenance the itinerant lifestyle their act required of them.[citation needed] Paul's most recognisable recordings from then through the mid-1970s were an album for London Records, Les Paul Now (1967), on which he updated some of his earlier hits; and, backed by some of Nashville's celebrated studio musicians, a meld of jazz and country improvisation with fellow guitar virtuoso Chet Atkins, Chester and Lester (1976), for RCA Victor.

By the late 1980s, Paul had returned to active live performance. In 2006, at the age of 90, he won two Grammys at the 48th Annual Grammy Awards for his album Les Paul & Friends: American Made World Played. He also performed every Monday night, accompanied by a trio which included guitarist Lou Pallo, bassist Nicki Parrott and pianist John Colianni, at the Iridium Jazz Club on Broadway in New York City.

In 1978, Les Paul and Mary Ford were inducted into the Grammy Hall of Fame. Paul received a Grammy Trustees Award for his lifetime achievements in 1983. In 1988, Paul was inducted into the Rock and Roll Hall of Fame by Jeff Beck, who said, "I've copied more licks from Les Paul than I'd like to admit." In 1991, the Mix Foundation established an annual award in his name; the Les Paul Award which honors "individuals or institutions that have set the highest standards of excellence in the creative application of audio technology." Les Paul was inducted into the National Inventors Hall of Fame in May 2005 for his development of the solid-body electric guitar. In 2006, Paul was inducted into the National Broadcasters Hall of Fame. He was named an honorary member of the Audio Engineering Society.

A 1 hour biographical documentary titled The Wizard of Waukesha was shown at the Los Angeles International Film Exposition (FILMEX) March 4-21, 1980 and later on PBS.

A biographical, feature length documentary, titled Chasing Sound: Les Paul at 90, made its world premiere on May 9, 2007 at the Downer Theater in Milwaukee, Wisconsin. Paul appeared at the event and spoke briefly to the enthusiastic crowd. The film is being distributed by Koch Entertainment and was broadcast on PBS on July 11, 2007 as part of its American Masters series and was broadcast on October 17, 2008 on BBC Four as part of its Guitar Night. The premiere coincided with the final part of a three part documentary by the BBC broadcast on BBC ONE entitled The Story of the Guitar.

In June 2008, an exhibit showcasing his legacy and featuring items from his personal collection opened at Discovery World in Milwaukee . The exhibit was facilitated by a group of local musicians under the name Partnership for the Arts and Creative Excellence (PACE). Paul played a concert in Milwaukee to coincide with the opening of the exhibit.

Paul's hometown, Waukesha, Wisconsin is planning a permanent exhibit to be called "The Les Paul experience".

In July 2005, a 90th-birthday tribute concert was held at Carnegie Hall in New York City. After performances by Steve Miller, Peter Frampton, Jose Feliciano and a number of other contemporary guitarists and vocalists, Les was presented with a commemorative guitar from the Gibson Guitar Corporation.

On November 15, 2008, Les Paul received the American Music Masters award through the Rock and Roll Hall of Fame at a tribute concert in the State Theater in Cleveland. Among the many guest performers were Duane Eddy, Eric Carmen, Lonnie Mack, Jennifer Batten, Jeff "Skunk" Baxter, Dennis Coffey, James Burton, Billy Gibbons, Lenny Kaye, Steve Lukather, Barbara Lynn, Katy Moffatt, Alannah Myles, Richie Sambora, The Ventures, and Slash.

Les Paul was an Honorary Board Member for Little Kids Rock, a nonprofit dedicated to bringing free musical instruments and music instruction to underserved schools across the United States of America.

Paul was the godfather of rock guitarist Steve Miller of the Steve Miller Band, to whom Paul gave his first guitar lesson. The close family ties with Paul and the Millers were evident again, as Steve Miller's father served as the best man at Les Paul's wedding to Mary Ford. Paul resided in Mahwah, New Jersey.

On August 13, 2009, Les Paul died of complications from pneumonia at White Plains Hospital in White Plains, New York. His family and friends were by his side. His attorney Michael Braunstein said that Paul had been "in and out of the hospital" because of illness.

On hearing of his death, Rolling Stone reported that, "many of those he influenced jumped online (and called up Rolling Stone) to share their tributes to the father of the electric six-string." Among those who paid tribute to Les Paul were Saul "Slash" Hudson, Joe Satriani, Tom Morello, John Mayer, Ace Frehley, Brian "Head" Welch, Tad Kubler, and Keith Richards.

Les Paul's compositions include "Walkin' and Whistlin' Blues", "Danger, Men at Work", "Waitin' So Long", "Golden Sands", "Dance Hall Blues", "Big Eyed Gal", "Deep in the Blues", "Mammy's Boogie", "Hip-Billy Boogie", "Don'cha Hear Them Bells", "Come Back to Me", "Cowpokin'", "Les's Country Blues", "Ham 'N' Grits", "Song in Blue", "Magic Melody", "Pacific Breeze", "All I Need is You", "Hawaiian Charms", "Take a Warning", "Mountain Railroad", "Move Along, Baby (Don't Waste My Time)", and "Suspicion", a song he composed in 1948, which was recorded by Tex Williams, Jo Stafford, and the Ray Noble Orchestra. "Johnny (Is the Boy for Me)" was published in 1953 with lyrics by Paddy Roberts and Marcel Stellman and with music composed by Les Paul.

Composer Richard Stein (1909-1992) sued Les Paul for plagiarism, charging that Les Paul's "Johnny (Is the Boy for Me)" was taken from Stein's 1937 song "Sanie cu zurgălăi" (Romanian for "Sledge with Bells"). A 2000 cover version of "Johnny" by Belgian musical group Vaya Con Dios that credited Les Paul prompted another action by the Romanian Musical Performing and Mechanical Rights Society (UCMR–ADA).

From Wikipedia, the free encyclopedia

The Strings Of Paris - Midnight Blue - Conducted by Jean Paul de La Tour

 
  1. Midnight Blue
  2. Annie's Song
  3. A Fine Romance
  4. Yesterday
  5. Moscow Nights
  6. Midnight Cowboy
  7. Blue Skies
  8. Dindi
  9. Couleur Tendresse
  10. Toujours Le Soleil
  11. Solitude
  12. Les Mots D'Amour
  13. Careless Love
  14. My Prayer
  15. Samba Funk
  16. Serenade In Blue
Midnight Blue

quinta-feira, 13 de agosto de 2009

Among My Souvenirs - Those Romantic 20's - Various Artists

 

01.Among My Souvenirs - Ronnie Aldrich
02.Lover, Come Back To Me - Frank Chacksfield
03.I'll Get By - Mantovani
04.Are You Lonesome Tonight - Roberto Mann
05.The One I Love - The Cambridge Strings
06.Why Do I Love You - Frank Chacksfield
07.You Were Meant For Me - Mantovani
08.I Kiss Your Hand, Madame - Cyril Stapleton
09.More Than You Know - Ronnie Aldrich
10.A Kiss In The Dark - Frank Chacksfield
11.Always - Roberto Mann
12.Jealousy - Mantovani
13.I'll See You In My Dreams - Johnny Howard
14.The Man I Love - Frank Chacksfield
15.Do You Ever Think Of Me - The Cambridge Strings
16.Whispering - Mantovani
17.You Do Something To Me - Sydney Lipton
18.Manhattan - Frank Chacksfield
19.I'll Be With You In Apple Blossom Time - Roberto Mann
20.Tea For Two - Mantovani

Among My Souvenirs

quarta-feira, 12 de agosto de 2009

Mantovani Orchestra - Around The World to Italia

  1. Italian Fantasia:Tarantella/O Sole Mio/A Francesca/Santa Lucia/Maria Maria/Funiculi Funicula
  2. Arrivederci Roma
  3. Summertime In Venice
  4. Autumn Leaves
  5. Canon
  6. Swedish Rhapsody
  7. Tritsch Tratsch Polka
  8. Long Ago (And Far Away)
  9. Belle Of The Ball
  10. Take The 'A' Train
  11. Begin The Beguine
  12. Londonderry Air
  13. Charmaine

    Around the World to Italia

terça-feira, 11 de agosto de 2009

Orquestra Brasileira de Espetáculos - Os Grandes Sucessos de Roberto Carlos

 
  1. O show já terminou
  2. Quando
  3. Detalhes
  4. Eu disse adeus
  5. As flores do jardim de nossa casa
  6. Eu te amo, te amo, te amo
  7. A namorada
  8. A distância
  9. A montanha
  10. Nossa canção
  11. As canções que você fez pra mim
  12. Debaixo dos caracóis dos seus cabelos
  13. Traumas
  14. Amada, amante
Os Grandes Sucessos de Roberto Carlos

segunda-feira, 10 de agosto de 2009

Dick Farney, piano & orquestra Gaya - No tempo da Bossa Nova

 
  1. Valsa de uma cidade
  2. Inútil paisagem
  3. Blue Walk
  4. Insensatez
  5. Some Day My Prince Will Come
  6. ...And Roses...And Roses
  7. Preciso aprender a ser só
  8. All The Things You Are
  9. Influência do jazz
  10. Fotografia
Bossa Nova
Dick Farney, nome artístico de Farnésio Dutra e Silva (14 de novembro de 1921 — 4 de agosto de 1987) foi um cantor, pianista e compositor brasileiro.

Começou a tocar piano ainda na infância, quando aprendia música erudita com o pai,e enquanto a mãe lhe ensinava canto.

Em 1937 estreou como cantor no programa Hora juvenil na rádio Cruzeiro do Sul do Rio de Janeiro, quando interpretou a canção Deep Purple composta por David Rose, foi levado por César Ladeira para a rádio Mayrink Veiga, passando a apresentar o programa Dick Farney, a voz e o piano. Era dono de um charme, voz, elegância e bom gosto. O conjunto Os swing maníacos formado por Dick, tinha ao lado o irmão Cyll Farney, na bateria, acompanhou Edu da Gaita na gravação da música Canção da Índia, do compositor russo Nikolay Rimsky-Korsakov (1844-1908). De 1941 a 1944, era crooner da orquestra de Carlos Machado, no Cassino da Urca, no tempo em que o jogo era permitido no Brasil. Em 1946 foi convidado para ir para os Estados Unidos, depois do encontro com o arranjador Bill Hitchcock e o pianista Eddie Duchin, no Hotel Copacabana Palace. Fez apresentações na rádio NBC, durante dois meses. Em 1948 apresentou-se com sucesso na boate carioca Vogue. No ano de 1959 era exibido o programa de TV - Dick Farney Show, na TV Record - Canal 7 de São Paulo. 1960 formou a Dick Farney e sua orquestra que animou muitos bailes. 1965 na récem-inaugurada TV Globo - Canal 4, Rio de Janeiro, apresentados por Betty Faria e Dick Farney, o programa de TV Dick e Betty. Gogô foi seu pianista acompanhador de 1977 a 1987. Foi proprietário das boates Farney´s e Farney´s Inn, ambas em São Paulo. 1971 - formou um trio com Sabá. De 1973 a 1978 tocava piano e cantava na boate Chez Régine no Rio.

Origem: Wikipédia, a enciclopédia livre.

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