O violinista, compositor, maestro e arranjador Victor Young nasceu em Chicago, E.U.A., em 8 de agosto de 1900 e faleceu em Palms Springs, E.U.A., em 11 de novembro de 1956, com apenas 56 anos de idade.
Já aos 4 anos dedilhava o violino. Aos 6 conseguia tirar no instrumento algumas melodias conhecidas. Aos 10 foi morar com o avô em Varsóvia, Polônia, e por quase 10 anos estudou violino no Conservatório Musical dessa capital.
Quando tinha 18 anos deu seu primeiro concerto junto com a Orquestra Sinfônica de Varsóvia. O banqueiro Joseph Goldefeder ficou muito impressionado com o seu desempenho e o presenteou com um raro e precioso violino Guarneri, que foi conservado por ele com o maior carinho por toda a vida.
Logo que a Primeira Guerra Mundial terminou, em 1918, Victor Young voltou para os Estados Unidos, casou-se com sua namorada polonesa e iniciou carreira como concertista de violino. Tocou inicialmente na Sinfônica de Chicago e depois passou a reger orquestras em cinemas de alto luxo. O cinema sonoro ainda estava por vir.
Dois anos mais tarde foi para Hollywood atender a um contrato assinado com Sid Grauman para tocar na Symphony Orchestra. Passou então a se dedicar mais à música popular, no caso o jazz. Por essa época sua música "Sweet Sue" alcançou enorme sucesso e permanece até hoje como um clássico da música americana. Já estava casado pela segunda vez.
Sua fama de maestro de cinemas de luxo, os chamados "palácios" e seu prestígio de compositor, fizeram com que, em 1935, o estúdio de cinema Paramount o convidasse para compor e dirigir as trilhas sonoras de seus filmes. No ano anterior ele já tinha sido contratado pela gravadora de discos Decca, que iniciava suas atividades.
No cinema seria o responsável pela trilha de pelo menos 200 filmes, muitos deles clássicos da Meca do Cinema. Citar mesmo os mais importantes é difícil, tantos foram os que ficaram marcados na memória do público: "Por Quem os Sinos Dobram (For Whom the Bells Tolls)", "Sansão e Dalila (Samson and Delilah)", "O Maior Espetáculo da Terra (The Greatest Show On Earth)", "O Meu Maior Amor (My Foolish Heart)", "Matar ou Morrer (High Noon)", "Os Brutos Também Amam (Shane)"...
Recebeu o Oscar de 1956 pela melhor música de filme não musical. Foi um merecido prêmio póstumo. Ele tinha falecido 4 meses antes e o prêmio foi-lhe conferido pelo filme "A Volta ao Mundo em 80 Dias (Around The World In 80 Days)", da United Artists.
O compositor Victor Young não será menos lembrado. Deixou canções maravilhosas como "Sweet Sue", "My Foolish Heart", "Stella By Starlight", "Love Letters", "Beautiful Love", "Street of Dreams", "Love Me Tonight", "Old Man of The Mountain".
Na música clássica é autor de "Pearls of Velvet" e "Arizona Sketches", entre outras.
Com sua orquestra acompanhou grandes cantores, bastando citar Bing Crosby, Judy Garland e Doris Day.
Victor Young (August 8, 1900 – November 10, 1956) was an American composer, arranger, violinist and conductor. He was born in Chicago.
Young began as a classical composer and concert violinist but moved into the popular music sphere when he joined Ted Fio Rito's orchestra. In the mid-1930s he moved to Hollywood where he concentrated on films, recordings of light music and providing backing for popular singers, including Bing Crosby.
His composer credits include "When I Fall in Love," "Blue Star (The 'Medic' Theme)," "Moonlight Serenade (Summer Love)" from the motion picture The Star (film), "Sweet Sue," "Can't We Talk It Over," "Street of Dreams," "Love Letters," "Around the World," "My Foolish Heart," "Golden Earrings," "Stella By Starlight", and "I Don't Stand a Ghost of a Chance with You."
Young was signed to Brunswick in 1931 where his studio groups recorded scores of popular dance music, waltzes and semi-classics through 1934. His studio groups often contained some of the best jazz musicians in New York, including Bunny Berigan, Tommy Dorsey, Jimmy Dorsey, Joe Venuti, Arthur Schutt, Eddie Lang, and others. He used first-rate vocalists, including Paul Small, Dick Robertson, Smith Ballew, Helen Rowland, Frank Munn, The Boswell Sisters, Lee Wiley and others. One of his most interesting recordings was the January 22, 1932 session containing songs written by Herman Hupfeld "Goopy Geer" and "Down The Old Back Road", which Hupfeld sang and played piano on (his only two known vocals).
In late 1934, Young signed with Decca and continued recording in New York until mid-1936, when he relocated to Los Angeles.
On radio, he was the musical director of Harvest of Stars. He was musical director for many of Bing Crosby's recordings for the American branch of Decca Records. For Decca, he also conducted the first album of songs from the 1939 film The Wizard of Oz, a sort of "pre-soundtrack" cover version rather than a true soundtrack album. The album featured Judy Garland and the Ken Darby Singers singing songs from the film in Young's own arrangements. He also composed the music for several Decca spoken word albums.
He received 22 Academy Award nominations for his work in film, twice being nominated four times in a single year, but he did not win during his lifetime. He received his only Oscar posthumously for his score of Around the World in Eighty Days (1956). His other scores include Golden Boy (1939), For Whom the Bell Tolls (1943), Love Letters (1945), Samson and Delilah (1949), My Favorite Spy (1951), Payment on Demand (1951), The Quiet Man (1952), Scaramouche (1952), Something to Live For (1952), Shane (1953), and Written on the Wind (1956). His last film score was for Omar Khayyam, starring Cornel Wilde, filmed in 1956 and released by Paramount in 1957 after Young's death.
At 56, Victor Young died in Palm Springs, California after a cerebral hemorrhage.
His family donated his artifacts and memorabilia (including his Oscar) to Brandeis University, where they are housed today.
What happens when an extraordinarily talented musician, a composer-conductor such as Bert Kaempfert, attains the pinnacle of success in his field of making records? Does he sit back, fold his hands, read his complimentary reviews and wait for something new to happen? Not Bert Kaempfert!
Bert, as his fans must know, has been at the top of the popular music field for some time, with such hits as "Red Roses For A Blue Lady" and "Three O'Clock In The Morning". And with such original compositions as "Danke Schoen", "Moon Over Naples", "Bye Bye Blues" and "L-o-v-e", Bert could well afford to rest on his laurels.
Bert Kaempfert, however, believes that an unused talent wastes away and is lost. So why not use it rather than lose it? And what better way to employ it than the challenge of writing for motion pictures!
The result of this kind of thinking is a delightful motion picture score for "A Man Could Get Killed". Filmed largely in Portugal, this is a spy-comedy thriller with an internationally famous cast. Bert" highly distinctive and individualistic handling of the musical background lends just the right touch of universality to the story treatment.
The picture gets off to a fast start with an opening airport scene that Bert punctuates with his trademark sound of electric bass guitar. The web of intrigue is woven around the hero, who is innocent of any involvement in an international diamond theft but who, nonetheless, becomes entangled in the mesh of circumstances to the point of being the No. 1 secret agent for the British Embassy, in an attempt to solve the crime. Here Bert's inimitable style and flavor provide just the right sense of excitement for our hero-victim. The hilarity of broad comedy and the double-barreled enjoyment of two pairs of romantic lovers are heightened by Bert's music flair for the unique, especially the love theme, and the Portuguesesque folk melody interwoven throughout the score. Keystone cop-like chase scenes are puntuated by "action music" with great humor in this cloak-and-dagger affair.
In the end, of course, the diamonds are located, the hero and heroine are saved from the nasty villains, and true love finds a way.
Writing music for motion picture is a highly complicated activity involving split-second timings, exact underscoring for the action taking place - to say nothing of originally and the ability to create a mood required of the composer. Bert Kaempfert has succeeded magnificently on all counts and can proudly take his place with this highly select group of composers, thereby additng yet another strand to his crown of laurels.
Com a evolução cada vez mais acentuada do gosto pela música, consequência indiscutível do carinho com que se procura dar ao disco qualidades técnicas e artísticas dia a dia mais ricas, o público discófilo passou, naturalmente a ser mais exigente, a querer aquilo que efetivamente seja BOM.
Não será por menos que Billy Vaughn conquistou a opinião popular de todo o mundo, com seu estilo especial de arranjador que sabe não só imprimir aos números que "arranja" sua personalidade marcante, como também pela felicidade na seleção musical de seus LP's.
"Favoritos de Milhões" (Million Sellers) cabe inteirinho nessas considerações. E ao apresentar números preferidos, aqueles que são favoritos mesmo dos audientes, Billy Vaughn revela justamente sua personalidade, porque não é nada fácil trazer idéias novas para velhos números, já tão executados.
O toque particularmente gracioso que ele sabe dar a esses antigos êxitos constitui, por si só, uma consagração de seu bom gosto. E, para você, apreciador do belo, colecionador de discos de reais qualidades artísticas e para quem é tão familiar o motivo popular do "Moonglow" ou do "In The Mood", como os temas clássicos de Chopin Rachmaninoff e Tchaikovsky apresenta com a "roupa nova" da nossa época, esse expressivo trabalho de Billy Vaughn irá proporcionar momentos de satisfação, dessa alegria que todo o apaixonado pelos bons discos encontra ao travar novas relações com a sempre renovada e aperfeiçoada arte fonográfica.
Enriquecida está, portanto, sua discoteca com estes doze encantadores arranjos de Billy Vaughn.
This easy listening conductor and arranger was born September 12 of 1930 in Paris, France, from Italian father and French mother.
He was initially instructed in music by his mother in piano and voicing/harmony at seven years old, and later, when he was thirteen he started to attend the Paris Conservatoire.
At twenty he was professionally touring, accompanying singers on piano, and his first son, Patrick was born (his daughter two years later).
When he was 26 years old he started as orchestra conductor.
In 1959 with the help of famous French jazz bandleader Ray Ventura, he obtained a contract to form his own orchestra oriented to popular music.
In 1956 Caravelle Aerospatiale introduced the twin jet Caravelle. This plane was the first jet created for the short-haul market. The first Caravelle entered service for Air France on May 9, 1959. France was proud of it. So Claude took this name which he turned more Italian in honor to his father origins, changing the last letter: “CARAVELLI et son Violons Magiques/& his Magnificent Strings” was born.
He signed a contract with the French record label Versailles. His first album “Dance Party” is recorded (issued also in STEREO).
So under Versailles licenses his early recordings are edited in other countries (20th Century Records in USA, Ariel in Argentina and Discophon in Spain, etc.)
In 1962 he composed Et Satan conduit le bal original soundtrack under his real name, French film starred by young Catherine Deneuve. An EP record was issued in France.
In 1963 he composed Accroche-toi Caroline! which was used by the British Broadcasting Corporation as the theme to Vision On.
Later Versailles is acquired by Columbia records (1964). Thanks to CBS worldwide distribution facilities soon he started a real international career, obtaining gold records in France, Japan, Israel and South America.
With his orchestra he also made recordings with Maurice Chevalier and Charles Trenet ( La mer / Beyond the sea ) among other singers.
In 1970 he composed “L'Homme Qui Vient De La Nuit” soundtrack film, starred by Ivan Rebroff. This soundtrack was issued in lp by CBS France.
In 1970/1 he recorded an album in USA.
He is one of the first and few Western artists who were invited to conduct the NHK Orchestra from Japan TV Network.
His first Japan Live Concert is recorded in 1972 by CBS.
In 1973 one of his own compositions was included in the Frank Sinatra album "Old Blue Eyes is back" : “Laisse moi le temps” / “Let me try again”, original French lyrics by Michel Jourdan, English lyrics by Paul Anka.
This song was previously presented in competition at the "Festival Internacional de la Canción de Viña del Mar", Chile, representing France and obtaining a 2nd prize (a Chile song was the winner), although it was considered the best song by critics and people. Making a delayed justice, a few years ago, it was proclaimed the Best Song in the history of this Festival, in its 40th Anniversary, something unusual for a non 1st prize in any song contest. This song was also covered by Raymond Lefevre.
In 1978 he composed and recorded the title song of "Goldorak et les 2 Mazingers", for the Japan anime/cartoon.
In a television interview in Buenos Aires (1980) he informed he was coming from making his recording # 2000. It was Berlin "White Christmas".
In 1981 he toured with his orchestra in the ex-Soviet Union in Riga and Moscow with great success (all concerts were sold out).
The summer of following year, he went back to that country, this time to make a record in the Melodiya label with Russians musicians and female singers (in his style without lyrics). This record "Caravelli in Moscow" includes 12 songs, majority written by young pop Russian composers of that time, and a couple of traditional tunes. 10 themes were recorded in Moscow/Melodiya, and 2 in Paris/CBS with his own orchestra.
In 1983 “Caravelli plays Seiko Matsuda” album is recorded in Japan in digital.
In the middles '80 in order to up to date his sound he started to share the rhythm arrangements with his son Patrick Vasori and prestigious musicians like Gilles Gambus and Serge Planchon, who also played keyboards and synthesizers with the orchestra.
In November 2001 he was touring Japan with an orchestra composed of 32 musicians (tour N° 7 ), invited by Sony Foundation ( the previous tour was in 1996 ).
According to this event Sony Music Japan edited another 2CD set "Caravelli plays Michel Polnareff and ABBA", being the first (Polnareff) a selection from '60 & '70 albums (including his outstanding cover of Love me, please love me, but in mono) and the second (ABBA) a selection from 70' recordings.
In November and December 2002 he recorded a 15 songs album titled “A new day has come” with his Grand Orchestre in Brussels, Belgium, for Readers’s Digest.
In December 2003 he was touring Japan again. This time 6 concerts, all sold out.
A Orquestra Tabajara é uma orquestra popular brasileira. Fundada em 1934 na cidade de João Pessoa (Paraíba), a orquestra está em atividade atualmente no Rio de Janeiro.
A Orquestra Tabajara foi fundada em 1934 na cidade de João Pessoa (Paraíba), pelo empresário e cônsul holandês Oliver Von Sohsten. À época da fundação, a orquestra levava o nome de Jazz Tabajara. Em 1937, com a inauguração da Rádio Tabajara, a orquestra foi contratada para fazer parte de seu elenco. Nesse período, Severino Araújo foi convidado para integrar o naipe de saxofones da orquestra, que já contava com músicos conhecidos, dentre os quais pode-se destacar K-Ximbinho,Waldyr Brito(Pássaro triste), José Leocádio, Geralso Medeiros, Porfírio Costa e Raimundo Napoleão. Cláudio de luna Freire, Olegario de Luna Freire (diretor) etc. Com a morte repentina de Luna Freire, Severino Araujo, aos 21 anos de idade, assumiu a direção da orquestra, que se tornaria uma das mais famosas orquestras populares do Brasil.
Cantores famosos como Francisco Alves, Orlando Silva, Déo, Ciro Monteiro e outros, excursionaram pelo nordeste acompanhados pela orquestra.
Daí, a fama da orquestra chegou ao Rio de Janeiro, então capital do país e pólo de produção musical. Em dezembro de 1944, a Orquestra Tabajara recebeu da Rádio Tupi o convite para se apresentar na capital e a estréia aconteceu no dia 20 de janeiro de 1945, tendo tido grande repercussão no país, visto que foi transmitida em cadeia nacional.
A partir dessa data, a orquestra permaneceu por 10 anos como contratada da Rádio Tupi. Posteriormente, passou mais 5 anos na Rádio Mayrink Veiga, 10 na Rádio Nacional e 5 na TV RIO, onde Severino se destacou com a excelente execução da Abertura do Guarani de Carlos Gomes, no 1º festival internacional da Canção, apresentado pela emissora.
A orquestra já realizou muitas apresentações no exterior. Em 1952 a orquestra tocou em Paris, por ocasião do lançamento do algodão brasileiro, na festa Festa do Jaques Fath; em 1955, apresentou-se no Carnaval de Montevidéu; no ano de 1961, apresentou-se na feira internacional, em Buenos Aires;
em 1989 tocou no Casino Estoril, de Lisboa e em 1990 excursionou por diversas cidades de Portugal.
Origem: Wikipédia, a enciclopédia livre.
For more than 60 years, Severino Araújo has been the conductor, arranger, clarinetist, and leader of the Orquestra Tabajara, the most important dance orchestra in Brazil. It is a native version of the Glenn Miller big band (and also doubles clarinet and sax) that plays music from all over the world with a Brazilian swing. Recording more than 100 78 rpm's (always for Continental), the orchestra's international career has taken them to play in several countries, especially Argentina, France, and Portugal. With almost 13,000 performances worldwide, they figure in the Guinness Book of World Records as the world's oldest orchestra still in evidence. The author of "Espinha de Bacalhau" (along with many other all-time hits), one of the eight most performed choros in the entire world, shared the stage with the Tabajara, with the Tommy Dorsey Orchestra in a special performance that became registered in the orchestral history of Brazil.
Araujo's father, José Severino de Araújo (Sazuzinha), was an instrumentalist, arranger, and band conductor. Several of his sons became musicians: Severino, Manuel (trombone), Plínio (drums), the famous Zé Bodega (tenor sax), and Jaime (saxes). At four, Araujo was already taking musical lessons with his father. He accounts that at that time, he was almost going to sleep when his father, upon finishing a new arrangement, told him that if he waited a while, he would teach him ten new musical lessons. He took the lessons and the next day, he performed all of them; then his father went out and bought him a French method, which oriented Araujo's self-teaching process. Two years later, at six, he became his father's assistant in teaching his pupils.
In 1928, Araujo began to take the instruments, beginning with horn and saxophone, soon taking the clarinet. At that time, there wasn't a Brazilian method for that instrument, so he wrote his own exercises that he gathered, writing the choro "Desconcertante," a real technical challenge. With his home serving as the band's headquarters, he learned all of the instruments, with the exception of piano and violin (which didn't exist in that band). At 12, he performed in public for the first time, playing clarinet with his father's band. It was when he wrote a dobrado, complete with the arrangement, that he even came to play with the band, but it got lost. Living in nearby cities during that period, in 1930 he returned to Limoeiro, working in the local commerce. In 1933, he moved to Ingá PB, where he worked as a bureaucrat and participated in the local band. In 1936, he moved to João Pessoa PB, and was hired as clarinetist for the state police band, when he was challenged to solo the "Fantasia Traviata" (Verdi), which had not been played for the last 12 years. Having 15 days to study the piece, he performed it in three days, receiving a standing ovation from his bandmates. In that year, he wrote "Espinha de Bacalhau," and in the next, was hired by Rádio Tabajara as clarinetist and saxophonist. He also served the Army as a first-class musician. At that point, the Orquestra Tabajara had been created four years before by Olegário de Nuna Freire and Jost vön Shosten, under the name Jazz Tabajara. When they were hired by the state government for the state Rádio Tabajara, Araujo was invited by Olegário to be the first clarinetist. Leaving the police band, he assumed his position with the orchestra until December 30, 1938, when Olegário died. Araujo wanted to play, not conduct, but the radio's direction, together with the outing's cast of singers and musicians, wanted him to be the conductor, so he accepted. Soon, he moved to Rio with two of the orchestra's musicians: Geraldo Medeiros and Porfírio Costa. In Rio, he was hired by Rádio PRG-3 as the radio's arranger and saxophonist for the radio's Orquestra Marajoara. In 1945, he called to Rio the rest of the Tabajara's members as the Tabajara had been hired by Rádio Tamoio. Along with an intense performance schedule on all radios of Rio (eight in total at the time), the Tabajara also played balls in upcountry Brazil. That same year, they recorded the first album of the Tabajara, a 78 rpm with his "Um Chorinho em Aldeia." The next year, he recorded one of the Tabajara's biggest hits, the choro "Pára-Quedista," composed and soloed by the band's trombonist José Leocádio. His samba arrangement of George Gershwin's "Rhapsody in Blue" made national success, but put him under fire by more exalted nationalists. At that time, he was admitted as conductor to Rádios Tupi and Nacional in Rio. On January 20, 1951, the Orquestra Tabajara opened the TV broadcasts in Brazil, in Rio. The same year, TV Tupi was largely reconstructed after a fire and for its re-opening, the Tommy Dorsey Orchestra was hired, performing together with the Tabajara on December 1, 1951, in a memorable encounter that projected the Tabajara internationally. The next year, the Tabajara toured Europe, having as their crooner Jamelão, who would later become a successful solo singer. In 1955, Araujo was hired as conductor by Rádio Mayrink Veiga, Rio, when he toured Uruguay with the Tabajara, touring Argentina in 1962. In that year, he was hired by TV-Rio, where worked until his retirement in 1968. In 1999, he commemorated 80 years still conducting the Tabajara in their performances throughout Brazil and abroad. "The day the Orquestra Tabajara loses its international status, I will kill it," he said. ~ Alvaro Neder, All Music Guide
Jesus Christ Superstar - "Overture", "Everything's Alright"
Groove to the symphonic sounds of the '60s and '70s, played by Arthur Fiedler and the Boston Pops. Included are hit songs originally recorded by The Beatles, Simon & Garfunkel and The 5th Dimension, and favorites from the rock musicals "Hair", "Godspell" and "Jesus Christ, Superstar".
Arthur Fiedler (1894-1979) delighted audiences of all ages as conductor of the Boston Pops for fifty years, bringing a mixture of classical music and pop tunes to mass audiences around the world.
Arthur Fiedler garnered many distinctions during his fifty consecutive seasons as conductor of the Boston Pops. He helped bring classical music to mass audiences; conversely, he also gave lighter genres such as pop a respectability they would not have had if he had not performed and recorded their works with his orchestra. Fiedler's albums with the Pops have sold over fifty million copies, and his rendition of Danish composer Jacob Gade's "Jalousie" became the first record by a symphony orchestra to sell over a million copies. In addition to being the toast of the city of Boston while he led the Pops, Fiedler and his orchestra toured extensively throughout the United States and the rest of the world. For his musical efforts, the conductor received many tributes, including the United States' highest civilian award, the Medal of Freedom, and France's Legion of Honor. When Fiedler died in 1979, he was eulogized in Newsweek by Hubert Saal as "neither elitist nor specialist" and "renowned" for his "resoundingly middlebrow musical taste that embraced high and low with equal respect and zest."
Fiedler was born in Boston on December 17, 1894, to a musical family. His father played violin for the Boston Symphony, and his mother played the piano, though not professionally. So many of his father's ancestors had been violinists in Austria that over the years their surname became Fiedler, the German word for "fiddler." Not surprisingly, Arthur Fiedler's father determined that his son should continue in the family tradition, and provided him with violin lessons in his childhood. Fiedler, however, told Stephen Rubin in the New York Times that he did not particularly enjoy either those or the piano lessons he also received. "It was just a chore, something I had to do, like brushing my teeth," he explained. When his family moved to Berlin, Germany in 1910, Fiedler briefly rebelled against his father's plans for him and became an apprentice at a publishing firm there. He quickly tired of the business, however, and returned to his musical efforts.
Supported Himself on the Violin
While his family was in Europe, Fiedler was fortunate enough to be accepted at Berlin's Royal Academy of Music. Though he concentrated on studying the violin, he also took classes in conducting, which, even then, he liked better. Fiedler used his violin to support himself, however, by playing in small orchestras and in cafes. He continued in this type of musical job when his family returned to the United States to avoid the dangers of World War I. By 1915 he had won a spot as a second violinist in the Boston Symphony Orchestra, hired by then-conductor Karl Muck.
After a brief period in the U.S. Army - from which he was discharged for having flat feet - Fiedler returned to the Boston Symphony in 1918. For some time he played the viola for the orchestra, and also served as a substitute on many other instruments, including the piano, organ, celesta, and, of course, the violin. He longed to conduct, however, and though he remained with the Boston Symphony, he began conducting smaller musical groups such as the MacDowell Club Orchestra and the Cecilia Society Chorus. With some of his fellow Boston Symphony musicians, Fiedler formed the Boston Sinfonietta, a small chamber orchestra that specialized in performing unusual and little-heard classical compositions. As Richard Freed reported in Stereo Review, the Sinfonietta was "perhaps the only permanently constituted chamber orchestra in the country in the 1930s." Freed went on to laud its achievements: "The Sinfonietta made the premiere recording of Hindemith's viola concerto Der Schwanendreher, with the composer as soloist. With organist E. Power Biggs there were works of Handel, Corelli, and Mozart. There were the big Mozart Divertimento in B-flat Major, K. 287, and the Wind Serenade in C Minor, K. 388, Telemann's Don Quichotte suite, and such rarities as the marvelous little Christmas Symphony of Gaetano Maria Schiassi and a suite by Esajas Reusner (the latter with the first U.S. recording of the Pachelbel Canon as filler)."
Initiated Free Outdoor Concert
Not content with his many musical activities, Fiedler in 1927 began an effort to gain support for free outdoor concerts. He later told Newsweek: "I believed people should have an opportunity to enjoy fine music without always having to dip into their pockets." By 1929 Fiedler had his way, and he conducted selected members of the Boston Symphony in the first of what became known as the Esplanade Concerts, on the banks of Boston's Charles River.
The following year, Fiedler became permanent conductor of the Boston Pops, an orchestra drawn from the Boston Symphony for the purpose of performing lighter classical music. At its helm, Fiedler led the group to heights of popularity that had hitherto escaped it. By the end of his first season as the Pops' conductor, he had achieved great personal fame in and around the Boston area. He began recording with the Pops in 1935, and their popularity began to spread to the rest of the United States - and to the rest of the world.
Embraced the Beatles and Beegees
Throughout his lengthy tenure with the Pops, Fiedler was not afraid of innovation. In addition to serving up renditions of lighter classics such as Strauss waltzes, he would often add to his programs versions of Broadway tunes or popular hits of the day. With the Pops, Fiedler made recordings of the songs of George and Ira Gershwin, and was one of the first "serious" musicians to recognize the worth of the Beatles' efforts, successfully featuring some of their songs - including "She Loves You" - in Pops concerts. Shortly before his death from cardiac arrest on July 10, 1979, Fiedler and the Pops made an album of songs from the disco-celebrating film Saturday Night Fever, aptly titled Saturday Night Fiedler. Saal quoted Fiedler about his approach to music selection: "I think the snobs are missing something. There's no boundary line in music, I agree with Rossini: 'All music is good except the boring kind."' Similarly, a Time reporter recorded more of the conductor's words: "My aim has been to give audiences a good time. I'd have trained seals if people wanted them."
Though towards the end of his time as leader of the Boston Pops Fiedler's health was poor and he needed the help of assistant conductor Harry Ellis Dickson, he remained active with the group practically up to his death. As Time reported: "Toward the end, the proud old man would shuffle unsteadily to the podium. But then, invigorated by the music, he seemed to shed 20 years."
Recorded at the Concert Hall of the Slovak Radio in Bratislava from 7th to 9th November, 1990.
Producers: Karol Kopernicky, Hubert Geschwandtner
Associate Producer: Igor Shvartsman
America's favourite "Pops" conductor, Richard Hayman is principal "Pops" Conductor of the Saint Louis, Hartford and Grand Rapids Symphony Orchestras, of Orchestra London Canada and the Calgary Philharmonic Orchestra, and also held that post with the Detroit Symphony Orchestra for many years.
His original compositions are standards in the repertoire of these ensembles as weel as frequently-performed selections of many orchestras and bands throughout the world.
For over 30 years, Mr. Hayman served as the chief arranger for the Boston Pops Orchestra during Arthur Fiedler's tenure, providing special arrangements for dozens of their hit albums and famous singles. Under John Williams' direction, the orche4stra continues to program his award-winning arrangements and orchestrations.
During the past several years, Mr. Hayman has been concentrating most of his time on guest-conducting special "Pops" concerts. He is reinvited, season after season, by all the leading orchestras across the United States and Canada to conduct these popular entertainments during their regular seasons, as well as for their summer festivals.
Now residing in New York City, Mr. Hayman's work is in constant demand, in every medium of musical expression, from Boston to Hollywood. Though more involved with the symphony orchestra circuit, Mr. Hayman has served as musical director and/or master of ceremonies for the tour shows of many popular entertainers: Kenny Rogers, Johnny Cash, Olivia Newton-John, Tom Jones, Engelbert Humperdinck, The Carpenters, The Osmonds, Al Hirt, Andy Williams and many others.
Richard Hayman and His Orchestra have been presented in 23 albums and 27 hit singles by Mercury Records, for which he served as musical director for 12 years. Dozens of Mr. Hayman's original compositions have been recorded by various artists all over the world. He has also arranged and conducted recordings for more than 50 stars of the motion picture, stage, radio and television world.
Mr. Hayman has also scored Broadway shows and numerous motion pictures.
In 1960, Mr. Hayman was honored with his own star in Hollywood's Walk of Fame. Other awards have included a Certificate of Recognition from Cosmopolitan magazine for Achievement in Bettering Popular Music, the Edison Award for Creative Achievement in Recorded Arts from the Academy of Musical Recorded Arts and Sciences and the National TV Festival and Forum Award.
Earl Grant is a man of many varied talents, and a man who pokes fist-sized holes in the "Jack-of-all-trades" theory. He's tops in everything.
Organist-pianist-vocalist Grant's rich musical background has given him the solid technical foundation on which to build his colorful and inventive style of delightful improvisation.
In this album, Mr. Grant takes to organ and piano. His interpretations of ever-popular standards such as the title song, Ebb Tide, Stormy Weather, Misty, Canadian Sunset, I'm In The Mood For Love, and the many others, represent an instrumental performance without peer.
As Earl Grant characteristically coaxes even the most subtle tones and innuendos out of his instruments, the album is further distinguished by having superbly exploited the full depth and many of the unusual effects in sound made available by today's modern techniques and equipment.
(From original LP liner notes)
Earl Grant was a triple-threat entertainer as a pianist, organist, and vocalist. While much of his material fell into the arenas of either light pop or jazz-schmaltz, Grant scored two R&B hits in the late '50s and early '60s, the most memorable being "Sweet Sixteen Bars" in 1962. It reached number nine on the R&B charts. His prior smash "The End" was his lone pop hit, reaching number seven in 1958. Grant also was in the films "Tender Is The Night," "Imitation of Life," and "Tokyo Night." He was killed in 1970 in a car wreck at age 39. ~ Ron Wynn, All Music Guide
Earl Grant (January 20, 1931 - June 11, 1970) was an American easy listening pianist, Hammond organist, and vocalist popular in the 1950s and 1960s.
Born in Oklahoma City, Oklahoma, Grant was gifted with keyboard skills and a fine singing voice. Other instruments he was skilled at playing were trumpet, drums and Hammond organ. Grant attended four music schools, then became a music teacher, augmenting his income by performing in clubs during his army service, stationed in Fort Bliss, Texas. Before long, Grant signed with Decca Records in 1957 and his first single "The End" reached number 7 on the Billboard Hot 100 chart. Ebb Tide, released in 1961, was his first album, which also rose to number 7 on the Billboard 200. The single "Ebb Tide" sold over one million copies, gaining gold disc status. He recorded five more singles that made the charts, including "Swingin' Gently" (from Ebb Tide), and six additional albums (mostly on the Decca label) through 1968. He also recorded the album Yes Sirree and the instrumental album Trade Winds, single-tracked on the Hammond organ and piano, featuring the love theme from the film El Cid and Chaplin's "Eternally". This album featured some realistic sounding 'tropical bird calls' produced by his electric organ. "The House of Bamboo" was another big selling single.
Grant also made a few appearances in film and television, including Tender Is the Night (1962), Juke Box Rhythm (1959), and The Ed Sullivan Show (1961).
He died instantly in a car accident in Lordsburg, New Mexico, at the age of 39.
* Versatile Earl Grant (Decca Records) 1958
* The End (Decca Records) 1958
* Grant Takes Rhythm (Decca Records) 1959
* Nothin' But The Blues (Decca Records) 1959
* Paris Is My Beat (Decca Records) 1959
* The Magic Of Earl Grant (Decca Records) 1960
* Ebb Tide (Decca Records) 1961
* Earl After Dark (Decca Records) 1961
* Beyond The Reef (Decca Records) 1962
* At Basin Street East (Decca Records) live 1962
* Midnight Sun (Decca Records) 1962
* Yes Sirree! (Decca Records) 1963
* Fly Me To The moon (Decca Records) 1964
* Just For A Thrill (Decca Records) 1964
* Just One More Time (Decca Records) 1964
* Trade Winds (Decca Records) 1965
* Spotlight On Earl Grant (Decca Records) 1965
* Winter Wonderland (Decca Records) 1965
* Sings And Plays Songs Made Famous By Nat Cole (Decca Records) 1966
A Tribute to the Great Nat "King" Cole is a tribute album released by Marvin Gaye on the Tamla (Motown) label on November 1, 1965, dedicated to his idol, late jazz/R&B performer Nat "King" Cole.
An Allmusic writer said the album was "a fine album that got lost after its release". Marvin was a vocal admirer of Nat King Cole and told interviewers Cole's vocals and performing style influenced his.
Biography: Marvin Gaye
* Born: 2 April 1939
* Birthplace: Washington, D.C.
* Died: 1 April 1984 (shot to death)
* Best Known As: Singer of "Sexual Healing"
Name at birth: Marvin Pentz Gay, Jr.
Marvin Gaye was an African-American soul singer whose hits included "How Sweet It Is to Be Loved by You," "Mercy Mercy Me (the Ecology)" and "Sexual Healing." Gaye was an early hit-maker for Motown Records, writing and recording singles like "Can I Get a Witness" (1963), "Ain't That Peculiar" (1965) and "I Heard It Through the Grapevine" (1968). Gaye worked with just about everyone in the R&B business, writing and recording mostly mid-tempo romantic ballads, as well as duets with the likes of Tammi Terrell ("Ain't No Mountain High Enough," among others) and Diana Ross. He began to exercise more control over his recordings in the 1970s, and his 1971 album What's Going On showed he was a composer interested in more than hit singles. What's Going On was a "concept" album that spawned the top hits "What's Going On," "Inner City Blues (Make Me Wanna Holler)," and the "Mercy Mercy Me (the Ecology)." Always moody and a little distant from the public, Gaye fell on hard times in the late 1970s. Following two divorces, money troubles and bouts of depression, he made a comeback in 1982 on the Columbia Records label with the single "Sexual Healing" from the album Midnight Love. The record was a Grammy-winning hit that put Gaye back into the spotlight, but he continued to be plagued by drug addiction and money trouble. After living in Europe and dodging the Internal Revenue Service for a couple of years, he moved in with his parents in Los Angeles. On 1 April 1984 he was shot in the chest and killed by his father after a heated argument. Gaye was inducted into the Rock and Roll Hall of Fame in 1987.
Gaye sang the national anthem at the 1983 NBA All-Star Game. His rendition became a sought-after bootleg recording... His father was convicted of voluntary manslaughter and received a suspended sentence with probation; he died in 1998... "I Heard It Through the Grapevine" was used in a popular 1980s commercial featuring The California Raisins... "How Sweet It Is (To Be Loved By You" was also a hit for James Taylor.
Algumas canções exercem tal atração que os ouvintes, quaisquer que sejam seus gostos musicais, reagem com a mesma carga emotiva. Bastam poucas notas para evocar a lembrança de momentos perdidos. Há quem as defina como "clássicas" e quem as chame "inigualáveis". Em uma palavra, são "inesquecíveis".
Cada um destes grandes sucessos tem uma sua própria história. Alguns viram a luz na Broadway ou em tin Pan Alley, enquanto outros constituiam um tem básico de filme, tornando inesquecíveis algumas cenas. Frequentemente sua durabilidade é devida também à contribuição de letristas que deram mais preciosidade depois à beleza musical. Em 1951 a magia de Nat "King" Cole fez um clássico da balada de Irving Gordon "Unforgettable". Em tempos mais recentes, a filha de Cole, Natalie, acrescentou sua voz à do pai numa excelente interpretação da mesma canção que conquistou um prêmio Grammy em 1991.
"My Funny Valentine", batizada por Mitzi Green em 'Babes in Arms' em 1937, foi sucessivamene reciclada no filme de 1955 'Gentlemen Marry brunettes' e de novo em 'Pal Joey', de 1957. Alec Wilder escreveu a propósito da obra-prima de Richard Rogers: "Esta é a melodia mais elegantemente destilada que já ouvi num musical".
Jeannette MacDonald lançou uma outra jóia de Rodgers, "Lover", com versos especialmente escritos, no filme de 1932 'Love Me tonight'. Rodgers, que sempre fora contrário aos remanejamentos das suas melodias e dos seus ritmos, a Peggy Lee, que lhe perguntava se lhe havia agradado o seu frenético "revival" daquela canção (com que conquistara um lugar na "hit parade"), respondeu, gélido: "Caso não tenha percebido, trata-se de uma valsa".
"The Way We Were", uma melodia de Marvin Hamlisch do filme homônimo de 1973, tornou-se um enorme sucesso para Barbra Streisand - que aparecia no filme ao lado de Robert Redford - e naquele mesmo ano ganhou o Oscar pela melhor canção.
Jerome Kern e Oscar Hammerstein II começaram sua colaboração em 1927 com 'Show Boat'. "The Song Is You", por eles composta, é tirada da comédia musical da Broadway 'Music In The Air', que incluía também "I've Told Every Little Star".
"Long Ago and Far Away", cantada por Nancy Wynn, que emprestava sua voz a Rita Hayworth, honrava com sua presença o filme de 1944 'Cover Girl' e foi indicada para um Oscar naquele mesmo ano. No começo deste século Jerome Kern tornou-se o mestre de um novo tipo de canção. Como observou Alec Wilder: "As suas melodias ficam sempre vivas e verdadeiras e em ótimo estado de saúde".
Duke Ellington e Billy Strayhorn compuseram a música de 'Satin Doll' e aquela versão instrumental foi publicada e gravada em 1953. Os versos, obra de Johnny Mercer, foram acrescentados em 1958. Conforme observou Alec Wilder: É delicada...e, ao mesmo tempo, rica de swing".
"Sophisticated Lady", uma das imortais delícias de Duke Ellington, veio à luz nos anos 20 como peça instrumental cujos direitos de autor só foram registrados em 1933, quando foram acrescentadas as palavras.
Cole Porter compôs "Begin The Beguine" para o seu musical de 1935 'Jubilee', no qual foi lançada por June Knight, mas foi preciso a versão swing de Artie Shaw, gravada em 1938, para lhe dar a glória.
"Stella by Starlight", de Victor Young, vem do filme 'The Uninvited', de 1944, e foi a orquestra do próprio Young que executou pela primeira vez aquela inesquecível melodia.
"Laura", o tema composto por David Raksin para o filme de suspense "Vertigem", de 1944, ficou vivo na memória de muitos. Aquele filme foi projetado para quase todos os soldados americanos que estavam no front àquela época, e desde então os ex-combatentes continuam a reevocar as circunstâncias em que a ouviram pela primeira vez. Da gravação com a orquestra de Woody Herman foram vendidas um milhão de cópias.
"Moonlight Serenade", de Glenn Miller, tornou-se a marca sonora de sua orquestra, a qual Mitchell Parish acrescentou os versos em 1939. Todavia, uma versão anterior composta por Miller nos tempos em que tocava com a orquestra de Ray Noble, trazia o título "Now I Lay Me Down to Weep", com versos de Edward Heyman.
"'S Wonderful" foi composta por George e Ira Gershwin para o show da Broadway de 1927 'Funny Face', com Fred e Adele Astaire. Na versão cinematográfica de 1956 (Cinderela em Paris), fred Astaire estava ao lado da encantadora Audrey Hepburn.
A eclética Barbra Streisand escreveu "Evergreen" para a nova produção de 1976 do filme 'Nasce uma Estrela'. a ela e ao letrista Paul Williams foi concedido um merecido Oscar pela melhor canção daquele ano. "Through the Eyes of Love", um sucesso de Marvin Hamlisch e Carole Bayer Sager, foi interpretada com grande sensibilidade por Melissa Manchester, Peggy Lee e muitas outras.
À famosíssima canção de Jerome Kern "Smoke Gets in Your Eyes", com versos de Otto Harbach, foi lançada em 1933 por Tamara no musical 'Roberta'. Segundo o letrista/libretista Otto Harbach, o motivo tinha sio composto originariamente para um número de claquettes que servia para entreter o público durante uma mudança de cena em 'Show Boat', mas quando aquele ritmo vivo foi transformado num ritmo lento, nasceu esta obra-prima.
"Star Dust" (Poeira de Estrelas) apareceu pela primeira vez em disco em 1927, tornou-se uma das canções famosas de que foram feitas muitas gravações. Hoagy Carmichael a compusera originariamente como peça para piano, a que Mitchell Parish acrescentou depois palavras em 1929.
"Unforgettable" ("Inesquecível") é uma rica resenha de extraordinários sucessos - canções que cobrem um arco de várias décadas e que fazem parte das memórias de todos nós. Nesta gravação aqueles grandes sucessos são executados pela grande estrela da música clássica ligeira e popular, a Boston Pops Orchestra, sob a direção mde John Williams, cujo prodigioso talento de compositor inclui as músicas para setenta filmes, entre as quais se encontram alguns dos maiores sucessos de todos os tempos. Williams foi indicado vinte e oito vezes para o Oscar e alcançou quatro. Os arranjadores desta gravação, também eles grandes talentos musicais, têm em seu ativo arranjos para a tela grande, gravações e espetáculos da Broadway e seriam necessárias muitas páginas para relacionar todos os seus sucessos.
Como observou Vincent d'Dindy (1851-1931): "Só a melodia não envelhece nunca". John Williams e a Boston Pops Orchestra lhe asseguram a eterna juventude.
Max Baade, 1993 (Tradução: Zito Baptista Filho)
The most popular film composer of the modern era, John Williams created music for some of the most successful motion pictures in Hollywood history -- Star Wars, E.T. the Extra Terrestrial, and Jurassic Park are just three of the credits in his extensive oeuvre. Born February 8, 1932, in Long Island, NY, he was himself the son of a movie studio musician, and he followed in his father's footsteps by studying music at UCLA and Juilliard; initially, he pursued a career as a jazz pianist, later working with Henry Mancini to compose the score for the hit television series Peter Gunn. Williams then went solo to pen a number of TV soundtracks for series including Playhouse 90, Wagon Train, and Bachelor Father; in 1959 he ventured into film with Daddy-O, and spent the majority of the 1960s alternating between the silver screen (The Killers, The Plainsman) and its smaller counterpart (Gilligan's Island, Lost in Space).
In 1968 Williams earned his first Academy Award nomination for his work in Valley of the Dolls; in 1970, he garnered nods for both The Reivers and Goodbye, Mr. Chips, and two years later finally won for Fiddler on the Roof. A slew of Oscar nominations followed, for features including The Poseidon Adventure, Images, Tom Sawyer, and The Towering Inferno. In 1974 he first teamed with a young filmmaker named Steven Spielberg on a movie titled The Sugarland Express; the two frequently reteamed over the years to come, with often stunning results -- Jaws, Close Encounters of the Third Kind, Raiders of the Lost Ark, E.T., Jurassic Park, and Schindler's List were just a few of the Spielberg/Williams pairings, with Jaws, E.T., and Schindler's List all winning the composer Academy Awards.
Williams' other most frequent collaborator was George Lucas; beginning with 1977's Star Wars -- yet another Williams Oscar winner -- they later teamed for 1980's The Empire Strikes Back and 1983's Return of the Jedi, with the composer agreeing to score Lucas' subsequent Star Wars films as they went into production in 1997. He even celebrated his 30th anniversary of working with Steven Spielberg with 2002's Minority Report soundtrack. Other scores of note included 1979's Superman, 1987's The Witches of Eastwick, 1988's The Accidental Tourist, 1991's JFK, and 1995's Nixon. In 1980, Williams also took over for the late Arthur Fiedler as the conductor of the Boston Pops. ~ Jason Ankeny, All Music Guide