quarta-feira, 31 de março de 2010

The Strings of Paris - Love Story - Conducted by Jean Paul de La Tour

  1. Love Story
  2. Misty
  3. Something
  4. Tristeza
  5. A Star Is Born
  6. C'Est Si Bon
  7. Cry Me A River
  8. September Morn'
  9. By the Sleep Lagoon
  10. I Only Have Eyes for You
  11. Give Me Back My Love
  12. Blue Moon
  13. Paloma Peceña
  14. Nature Boy
  15. Lady Di
  16. American Patrol
Love Story

terça-feira, 30 de março de 2010

Herbie Hancock - Clássicos do Jazz - Vol. 2

  1. Empty Pockets
  2. Jack Rabbit
  3. Yams
  4. The Eye of the Hurricane
  5. Cantaloupe Island
  6. The Sorcerer
  7. I Have A Dream
Clássicos do Jazz
He has played classical music and African, funk, rock, hip hop, techno and even disco. Each adventure, gaining new fans, while longtime fans turn up their nose. Herbie Hancock was one of the main contributors to extend the boundaries of jazz and confound the critics, struggling with the old question: after all, what is and what is not jazz?

Herbert Jeffrey Hancock was born on April 12, 1940 in Chicago. He was a child prodigy in classical piano, playing Mozart in a concert with the Chicago Symphony, with only 11 years. Shortly after it started in jazz. At 20, living in New York, joined the band of trumpeter Donald Byrd.

His first LP, "Takin 'Off," released in 63 by the renowned Blue Note, already had one of his greatest classics,' Watermelon Man ', who broke both the radio and in jazz rhythm & blues. The attentive Miles Davis once called him to join his mythological quintet with Wayne Shorter, Ron Carter and Tony Williams, one of the most famous in the 60s.

After five years with Miles, along with those who sowed the seeds of jazz-rock fusion, plunged into electronic jazz-funk with his new band, The Headhunters. The album "Head Hunters", 73, was a bestseller in the history of jazz. It contained another of his biggest hits, "Chameleon". From there, Hancock became a pop star, playing for crowds and reaching emplacar four discs in the pop chart at the same time.

Restless, he returned to acoustic jazz with VSOP, a reunion of the Miles quintet, with Freddie Hubbard on trumpet. This alternation between the more traditional jazz and experimentation continues today. He writes with pop stars like Sting, Santana and Christina Aguilera, and then with jazz musicians like Wynton Marsalis and Wayne Shorter.

(Helton Ribeiro, from original album notes)

Herbie Hancock will always be one of the most revered and controversial figures in jazz -- just as his employer/mentor Miles Davis was when he was alive. Unlike Miles, who pressed ahead relentlessly and never looked back until near the very end, Hancock has cut a zigzagging forward path, shuttling between almost every development in electronic and acoustic jazz and R&B over the last third of the 20th century. Though grounded in Bill Evans and able to absorb blues, funk, gospel, and even modern classical influences, Hancock's piano and keyboard voices are entirely his own, with their own urbane harmonic and complex, earthy rhythmic signatures -- and young pianists cop his licks constantly. Having studied engineering and professing to love gadgets and buttons, Hancock was perfectly suited for the electronic age; he was one of the earliest champions of the Rhodes electric piano and Hohner clavinet and would field an ever-growing collection of synthesizers and computers on his electric dates. Yet his love for the grand piano never waned, and despite his peripatetic activities all around the musical map, his piano style continues to evolve into tougher, ever-more-complex forms. He is as much at home trading riffs with a smoking funk band as he is communing with a world-class post-bop rhythm section -- and that drives purists on both sides of the fence up the wall.

Having taken up the piano at age seven, Hancock quickly became known as a prodigy, soloing in the first movement of a Mozart piano concerto with the Chicago Symphony at the age of 11. After studies at Grinnell College, Hancock was invited by Donald Byrd in 1961 to join his group in New York City, and before long, Blue Note offered him a solo contract. His debut album, Takin' Off, took off indeed after Mongo Santamaria covered one of the album's songs, "Watermelon Man." In May 1963, Miles Davis asked him to join his band in time for the Seven Steps to Heaven sessions, and he remained there for five years, greatly influencing Miles' evolving direction, loosening up his own style, and upon Miles' suggestion, converting to the Rhodes electric piano. In that time span, Hancock's solo career also blossomed on Blue Note, pouring forth increasingly sophisticated compositions like "Maiden Voyage," "Cantaloupe Island," "Goodbye to Childhood," and the exquisite "Speak Like a Child." He also played on many East Coast recording sessions for producer Creed Taylor and provided a groundbreaking score to Michelangelo Antonioni's film Blow Up, which gradually led to further movie assignments.

Having left the Davis band in 1968, Hancock recorded an elegant funk album, Fat Albert Rotunda, and in 1969 formed a sextet that evolved into one of the most exciting, forward-looking jazz-rock groups of the era. Now deeply immersed in electronics, Hancock added the synthesizer of Patrick Gleeson to his Echoplexed, fuzz-wah-pedaled electric piano and clavinet, and the recordings became spacier and more complex rhythmically and structurally, creating its own corner of the avant-garde. By 1970, all of the musicians used both English and African names (Herbie's was Mwandishi). Alas, Hancock had to break up the band in 1973 when it ran out of money, and having studied Buddhism, he concluded that his ultimate goal should be to make his audiences happy.

The next step, then, was a terrific funk group whose first album, Head Hunters, with its Sly Stone-influenced hit single, "Chameleon," became the biggest-selling jazz LP up to that time. Now handling all of the synthesizers himself, Hancock's heavily rhythmic comping often became part of the rhythm section, leavened by interludes of the old urbane harmonies. Hancock recorded several electric albums of mostly superior quality in the '70s, followed by a wrong turn into disco around the decade's end. In the meantime, Hancock refused to abandon acoustic jazz. After a one-shot reunion of the 1965 Miles Davis Quintet (Hancock, Ron Carter, Tony Williams, Wayne Shorter, with Freddie Hubbard sitting in for Miles) at New York's 1976 Newport Jazz Festival, they went on tour the following year as V.S.O.P. The near-universal acclaim of the reunions proved: that Hancock was still a whale of a pianist; that Miles' loose mid-'60s post-bop direction was far from spent; and that the time for a neo-traditional revival was near, finally bearing fruit in the '80s with Wynton Marsalis and his ilk. V.S.O.P. continued to hold sporadic reunions through 1992, though the death of the indispensable Williams in 1997 cast much doubt as to whether these gatherings would continue.

Hancock continued his chameleonic ways in the '80s: scoring an MTV hit in 1983 with the scratch-driven, proto-industrial single "Rockit" (accompanied by a striking video); launching an exciting partnership with Gambian kora virtuoso Foday Musa Suso that culminated in the swinging 1986 live album Jazz Africa; doing film scores; and playing festivals and tours with the Marsalis brothers, George Benson, Michael Brecker, and many others. After his 1988 techno-pop album, Perfect Machine, Hancock left Columbia (his label since 1973), signed a contract with Qwest that came to virtually nothing (save for A Tribute to Miles in 1992), and finally made a deal with PolyGram in 1994 to record jazz for Verve and release pop albums on Mercury. Well into a youthful middle age, Hancock's curiosity, versatility, and capacity for growth showed no signs of fading, and in 1998 he issued Gershwin's World. His curiosity with the fusion of electronic music and jazz continued with 2001's Future 2 Future, but he also continued to explore the future of straight-ahead contemporary jazz with 2005's Possibilities. An intiguing album of jazz treatments of Joni Mitchell compositions, called River: The Joni Letters, was released in 2007. ~ Richard S. Ginell, All Music Guide

segunda-feira, 29 de março de 2010

Emoções Clássicas Vol. 2 - Love Emotions

  1. Ária na corda de sol (Bach) - Marlboro Festival Orchestra & Pablo Casals
  2. Orfeu e Eurídice - Dança dos Espíritos Abençoados (Gluck) - Orquestra Filarmônica Real conducted by Placido Domingo
  3. "Largo" de Xerxes (Handel) - Orquestra de Filadelfia & Eugene Ormandy
  4. Nas asas da canção (Mendelssohn) - Columbia Symphony Orchestra conducted by Andre Kostelanetz
  5. Meditação (Massenet) - New Philharmonic Orchestra conducted by Jean-Pierre Rampal
  6. Arabesque (Debussy) - Philadelphia Orchestra conducted by William Smith
  7. Pavane Op. 50 (Fauré) - Ambrosian Singers and Philharmonic Orchestra conducted by Andrew Davis
  8. Sonho de Amor (Liszt) - Philadelphia Orchestra conducted by Eugene Ormandy
  9. None But the Lonely Heart (Tchaikovsky) - Philadelphia Orchestra conducted by Eugene Ormandy
  10. A Última Primavera (Grieg) - Philadelphia Orchestra conducted by Eugene Ormandy
  11. Siegfried - Murmúrio da Floresta (Ato II, Cena 2) (Wagner) - Orquestra de Cleveland dirigida por George Szell
  12. Serenata (Schubert) - Philadelphia Orchestra conducted by Eugene Ormandy
  13. Un Bel di Vedremo (Madame Butterfly) (Puccini) - Columbia Symphony Orchestra conducted by Andre Kostelanetz
  14. Concerto para Piano Nº 21 ("Elvira Madigan") (Mozart) - Members of the Cleveland Orchestra conducted by George Szell featuring Robert Casadesus on piano
Love Emotions

domingo, 28 de março de 2010

Claude Ciari - La Playa - Vol. 2

  1. Concierto de Aranjuez
  2. Greensleeves
  3. Johnny Guitar
  4. El Condor Pasa
  5. Everybody's Talkin' (From "Midnight Cowboy")
  6. The Breeze and I
  7. The Sound of Silence
  8. Was Inch Dir Sagen Will
  9. La Chanson D'Orphée
  10. The Girl from Ipanema
  11. One Note Samba
  12. Adelita
  13. La Malagueña
  14. Asturias
  15. Corcovado
La Playa 2

sábado, 27 de março de 2010

Claude Ciari - La Playa - Vol. 1

  1. La Playa
  2. Solenzara
  3. Recuerdos de la Alhambra
  4. Maria Elena
  5. Jeux Interdits
  6. Stardust
  7. Le Vert Gallant
  8. Sans Toi Mamie
  9. Nathalie
  10. Manuel Benitez "El Cordobes"
  11. The Third Man Theme
  12. L'Amour C'Est Pour Rien
  13. Estrellita
  14. Einsamer Hirte
  15. On Ne Vit Pas Sans se Dire Adieu
La Playa 1
French guitarist Claude Ciari has the rare distinction of being the first Caucasian to run for a seat in the upper house of the government of Japan. While he was not elected, he used the opportunity to publicly challenge what he felt was a stupid law for foreigners, a stance that only furthered his popularity in Japan. Ciari was born in Nice on the French Riviera in 1944. He started to play guitar when he was 11, and by 16 he was proficient enough to join a rock group, Les Champions, featuring himself on lead guitar along with Jean-Claude Chane (singer), Alain Santamaria (guitar), Daniel Kaufman (bass guitar), and Willy Lewis (drums). Les Champions, with a sound closer to the Jordanaires than the more popular instrumental groups of the era, recorded several singles, and even toured France with Gene Vincent in October 1962. Les Champions were not very original, and Ciari became frustrated when the band decided to become the support band for French singer Danyel Gerard.

Ciari left the group in 1964, and began his career as a solo artist. Solo success was immediate -- his first album included an instrumental rhumba, "La Playa," which caught on in the bossa nova fervor of the time and became a big hit in France and over 40 other countries. At 20 years old, Ciari had sold several million records, and began a prolific and acclaimed career. The first Batacuda's Seven LP, recorded in 1970, was his first dedicated to exploring Latin music, and gained him many more devoted followers in Latin America. He recorded many charting albums and singles, and toured extensively. In 1974 he decided to move to Tahiti, exploring Polynesian music while performing throughout Southeast Asia. Ciari fell in love with a fashion model while touring Japan, and subsequently moved to that country and married her. Ciari and his new wife started a family immediately, having two children within a few years of their wedding.

Japanese law at the time stipulated that children of a Japanese father automatically became Japanese citizens, while children of a foreign father were deemed foreign nationals. This archaic rule and the labyrinthine Japanese bureaucracy regarding children's rights outraged Ciari, and he decided the best way he could change things was to run for political office. He took Japanese citizenship, then campaigned to enter the upper house of government -- somewhat akin to running for the U.S. Senate -- and used the opportunity to, in his words, "make a big fuss using newspaper, magazines, radio, and TV." He received a solid 300,000 votes, but did not win the seat; however, his case became a cause célèbre, and eventually the offending law was removed. Claude Ciari has recorded more than 50 albums, and has contributed to many film and television soundtracks, working multiple times with composers Francis Lai and Bernard Gérard, and he continues to appear on television shows in Japan. He has not performed in France in almost 30 years, but hopes to return in the near future. ~ Laurie Mercer, All Music Guide

sexta-feira, 26 de março de 2010

Paul Mauriat - Love Is Blue - Anniversary Collection

  1. Love Is Blue
  2. I Will Follow Him (Chariot)
  3. The Bird of Wounds (Nagekidori)
  4. New York, New York
  5. Memory
  6. Alla Figaro
  7. If You Love Me (L'Hymne A L'Amour)
  8. Symphony Nº 40 - 1st Movement (Mozart)
  9. Say You, Say Me
  10. Back to Pyramids
  11. Mamy Blue
  12. El Bimbo
  13. La Traviata - Prélude (Verdi)
  14. Didn't We Almost Have It All
  15. Windy
  16. Toccata
Love Is Blue
Paul Mauriat (Marseille, 4 March 1925 – 3 November 2006 in Perpignan) was a French orchestra leader, specializing in light music. He is best known in the United States for his remake of André Popp's "Love is Blue," which was #1 for 5 weeks in 1968. Other recordings for which he is known include El Bimbo, "Toccata" and "Penelope."

Mauriat grew up in Marseilles and began leading his own band during the Second World War. In the 1950s he became musical director to at least two well-known French singers, Charles Aznavour and Maurice Chevalier, touring with them respectively.

In 1957, Mauriat released his first EP Paul Mauriat, a four track RGM release. Between 1959-1964 Mauriat recorded several albums on the Bel-Air record label under the name Paul Mauriat et Son Orchestre, as well as using the various pseudonyms of Richard Audrey, Nico Papadopoulos, Eduardo Ruo and Willy Twist, to better reflect the international flavour of his recordings. During this period, Mauriat also released several recordings with Les Satellites, where he creatively arranged vocal backing harmony for such albums as Slow Rock and Twist, (1961), A Malypense (1962) and Les Satellites Chantent Noel (1964).

Mauriat composed the music for several French soundtracks (also released on Bel-Air) including Un Taxi Pour Tobrouk (1961), Horace 62 (1962) and Faits Sauter La Banque (1964).

He wrote his first song with André Pascal. In 1958 they were prizewinners in the Coq d'or De La Chanson Française with Rendez-vous au Lavendou. Using the pseudonym of Del Roma, Mauriat was to have his first international hit with Chariot, which he wrote in collaboration with friends Franck Pourcel (co-composer), Jacques Plante (French lyrics) and Raymond Lefèvre (orchestrator). In the USA the song was recorded as I Will Follow Him by Little Peggy March and became #1 on the Billboard charts in all categories for 3 weeks. In 1992 the song was featured prominently in the film Sister Act starring Whoopi Goldberg. More recently, Eminem included some bars in his song, Guilty Conscience.

Between 1967 and 1972 he wrote a lot of songs for Mireille Mathieu; Mon Credo (1,335,000 copies sold), Viens dans ma rue, La premiere etoile, Geant, etc. (to name but a few) and contributed 130 song arrangements for Charles Aznavour.

In 1965 Mauriat established Le Grand Orchestre de Paul Mauriat, and released hundreds of recordings and compilations through the Philips label for the next 28 years. In 1994 he signed with Japanese record company Pony Canyon, where he re-recorded some of his greatest hits and wrote new compositions. Mauriat recorded many of these albums in both Paris and London, utilising several English classical musicians in these recordings.

In 1969, Mauriat started his first world tour, visiting countries like United States, Canada, Japan, South Korea, Brazil and other Latin American countries.

For several decades, some of Mauriat's compositions served as musical tracks for Soviet TV programs, such as "In the world of animals" (V mire zhivotnykh) and "Kinopanorama", among others.

Mauriat gave his final performance in 1998 in Osaka, but his orchestra keeps touring around the world and has twice traveled to China. Mauriat's former lead pianist, Gilles Gambus, then became the orchestra's conductor in 1999 and led successful tours of Japan, China, and Russia. Gambus had worked with Mauriat for more than 25 years. In 2005, classical French Horn instrumentalist, Jean-Jacques Justafre assumed conductorship of the orchestra, and led successful tours of Japan and Korea in late 2005.

A special concert led by Maestro Justafre conducting Le Grand Orchestre de Paul Mauriat to honour Paul's memory, took place on 11 November 2009 in Japan and South Korea, under the title 'Merci Paul: Paul Mauriat Memorial Concert"

Paul Mauriat died on November 3, 2006 at the age of 81.

Career and awards

Relative to his peers, Paul Mauriat has one of the largest recording catalogs, featuring more than 1,000 titles just from his Polygram era (1965-1993). He was awarded with the Grand Prix from the French recording industry, a MIDEN trophy, and in 1997 won the prestigious distinction of "Commandeur des Arts et des Lettres" from the French Ministry of Culture. He has sold over 40 million albums worldwide and held 28 tours in Japan from 1969 to 1998.

In the early-mid 1980s, Paul Mauriat appeared in several Japanese coffee and wine TV commercials, which featured music from his orchestra.

A line of saxophones are named for Paul Mauriat, known as P. Mauriat Saxophones.


    * "Love Is Blue" { US # 1, 1968 - AC # 1, 1968 }
    * "Love In Every Room" { US # 60, 1968 - AC # 7, 1968 }
    * "San Francisco" { US # 103, 1968 - AC # 16, 1968 }
    * "Chitty Chitty Bang Bang" { US # 76, 1969 - AC # 24, 1969 }
    * "Hey Jude" { US # 119, 1969 - AC # 24, 1969 }
    * "Je T'aime Moi Non Plus" { AC # 35 - January 1970 }
    * "Gone Is Love" { AC # 32 - September 1970 }
    * "Apres Toi (Come What May)" { AC # 21, 1972 }
    * "Taka Takata" (1972)

Discography (released as Paul Mauriat)

    * Paris by Night (1961)
    * Plays Standards (1963)
    * Paul Mauriat Joue pour les Enfants (1963)
    * Album No 1 (1965)
    * Russie De Toujours (1965)
    * Album No 2 (1965)
    * Album No 3 (1966)
    * Prestige de Paris (1966)
    * Album No 4 (1966)
    * Bang, Bang (1966)
    * Prevailing Airs (1967)
    * Gone is Love (1967)
    * More Mauriat (1967)
    * Mauriat Magic (1967)
    * Album No 5 (1967)
    * Noëls (1967)
    * Album No 6 (1967)
    * Love Is Blue (1968)
    * Viva Mauriat (1968)
    * Mauriat Slows (1968)
    * Rain and Tears (1968)
    * Cent Mille Chansons (1968)
    * Rhythm and Blues (1968)
    * Doing My Thing (1969)
    * Je T'aime...Moi Non Plus (1969)
    * Un Jour, Un Enfant (1969)
    * Vole, Vole, Farandole (1969)
    * Paul Mauriat Joue Chopin (1970)
    * C'est La Vie... Lily (1970)
    * Gone is Love (1970)
    * Comme J'ai Toujours Envie D'aimer (1970)
    * Paloma Embriagada (1970)
    * Un Banc, Un Arbre, Une Rue (1971)
    * Mamy Blue (1971)
    * Penelope (1971)
    * El Condor Pasa (1971)
    * Tombe La Neige (1971)
    * Apres Toi (1972)
    * L'Avventura (1972)
    * Last Summer Day (1972)
    * Paul Mauriat Joue Les Beatles (1972)
    * Le Lac Majeur (1972)
    * Forever and Ever (1973)
    * Nous Irons à Vérone (1973)
    * Last Tango In Paris (1973)
    * Good bye, My Love, Good bye (1973)
    * White Christmas (1973)
    * Viens ce Soir (1974)
    * Retalhos de Cetim (1974)
    * Je Pense à Toi (1974)
    * Le Premier Pas (1974)
    * I Won't Last a Day Without You (1974)
    * Have You Never Been Mellow? (1974)
    * L'Été Indien (1975)
    * Entre Dos Aguas (1975)
    * The Best of Paul Mauriat - 10 Years with Philips (1975)
    * From Souvenirs to Souvenirs (1975)
    * Lili Marlene (1975)
    * Stereo Spectacular (1975)
    * Love Sounds Journey (1976)
    * Michelle (1976)
    * Love Is Still Blue (1976)
    * Il Était une Fois... Nous Deux (1976)
    * Chanson D'amour (1977)
    * C'est La Vie (1977)
    * Hymne à l'Amour (1977)
    * Brasil Exclusivamente (1977)
    * L'Oiseau et l'Enfant (1977)
    * Overseas Call (1978)
    * Dans les Yeux d'Émilie (1978)
    * Brasil Exclusivamente Vol.2 (1978)
    * Too Much Heaven (1979)
    * Nous (1979)
    * Copacabana (1979)
    * Aerosong (1980)
    * Chromatic (1980)
    * Brasil Exclusivamente Vol.3 (1980)
    * Reality (1981)
    * Roma dalla Finestra (1981)
    * Pour Le Plaisir (1981)
    * Je n'Pourrais Jamais t'Oublier (1981)
    * Tout Pour Le Musique (1982)
    * Magic (1982)
    * I Love Breeze (1982)
    * Descendant Of The Dragon (1982)
    * Love with Many Phases(1982 in Hong Kong)
    * Wild Spring (1983)
    * Summer Has Flown (1983)
    * Olive Tree (1984)
    * Piano Ballade (1984)
    * The Seven Seas (1984)
    * Chromatic (1984)
    * Transparence (1985)
    * The Best of Paul Mauriat 2 - 20 Years with Philips (1985)
    * Classics In The Air (1985)
    * Windy (1986)
    * Classics In The Air 2 (1986)
    * Song For Taipei (1986)
    * Classics In The Air 3 (1987)
    * Nagekidori (1987)
    * Best Of France (1988)
    * The Paul Mauriat Story (1988)
    * Serenade (1989)
    * Iberia (1989)
    * Remember (1990)
    * You Don't Know Me (1990)
    * Gold Concert (1990)
    * Retrospective (1991)
    * Nostal Jazz (1991)
    * Emotions (1993)
    * The Color Of The Lovers (1994)
    * Now And Then (1994)
    * Soundtracks (1995)
    * Quartet For Kobe (1995)
    * Escapades (1996)
    * Cri D'amour (1996)
    * 30th Anniversary Concert (1996)
    * Romantic (1997)
    * Sayonara Concert (1998)
    * I Will Follow Him (2000)
    * All The Best (2003, In China)
    * Blooming Hits (2006, Universal Music Enterprises, a Division of UMG Recordings, Inc., Santa Monica, CA)

quinta-feira, 25 de março de 2010

Bert Kaempfert - Strangers in the Night

  1. Strangers in the Night
  2. I Can't Give You Anything But Love
  3. But Not Today
  4. Time on My Hands
  5. Milica
  6. Mexican Shuffle
  7. Show Me the Way to Go Home
  8. Two Can Live on Love Alone
  9. Every Sunday Morning
  10. Boo-Hoo
  11. Tijuana Taxi
  12. Forgive Me
Bert Kaempfert had almost too much talent, ability, and good luck rolled into one career to be fully appreciated, even by his own chosen audience, the lovers of fine orchestral pop music. He was one of the most successful conductors, arrangers, and recording artists in the latter field, but was also a major producer and played a key (if indirect) role in the roots of the British beat boom of the early '60s, which evolved into the British Invasion of America in 1964. Berthold Kaempfert was born in Barmbek, a working-class section of Hamburg, Germany, in 1923. He was musically inclined as a boy, and found that interest indulged by an act of fate when he was six years old -- Kaempfert was injured in a car accident and his mother used the money from the settlement to buy him a piano. He became proficient at the keyboard, and also on the clarinet and saxophone, among other instruments. He studied at the Hamburg Conservatory and although he was interested in all facets of music, Kaempfert was particularly taken with American-style big-band music of the late '30s and early '40s -- his multi-instrumental skills made him a potentially valuable commodity, and he was recruited into a pop orchestra run by Hans Bussch while in his teens, but was later drafted and served as a bandsman in the German navy, before being captured and interned as an Allied prisoner.

He founded a band of his own and later toured American military installations in Germany, at last able to play his favorite kind of music. Returning to his native Hamburg, he began performing on British Forces Network radio and writing compositions, initially using the alias of Mark Bones. Kaempfert's reputation in Hamburg attracted the attention of Polydor Records, which hired him as an arranger, producer, and music director during the second half of the 1950s. Among the talent that he brought to the company's roster was the Yugoslav pop artist Ivo Robic, who chalked up an international hit (Top 20 in America), and Viennese singer/guitarist/actor Freddy Quinn, who had a German hit with "Die Gittarre und das Meer." His own orchestra generated such hits as "Catalania," "Ducky," "Las Vegas," and "Explorer," but he had bolder, more ambitious music in mind. He arranged, produced, and recorded an instrumental entitled "Wonderland by Night," which was pretty enough but couldn't seem to get a hearing in Germany, even from his own company. Instead, Kaempfert and his wife brought the track to Milt Gabler, the legendary producer at Decca Records in New York, who arranged for its release in America in 1959; with its haunting solo trumpet, muted brass, and lush strings, the single topped the American pop charts and turned Bert Kaempfert & His Orchestra into international stars. Over the next few years, he revived such pop tunes as "Tenderly," "Red Roses for a Blue Lady," "Three O'Clock in the Morning," and "Bye Bye Blues," bringing them all high onto the pop charts internationally, as well as composing pieces of his own, including "Spanish Eyes (Moon Over Naples)," "Danke Schoen," and "Wooden Heart," which were recorded by, respectively, Al Martino, Wayne Newton, and Elvis Presley (with Joe Dowell charting the hit single of "Wooden Heart"); for an old American jazz fan like Kaempfert, however, little may have brought him more personal satisfaction than Nat King Cole recording his "L-O-V-E."

At the turn of the decade into the 1960s, Kaempfert was still busily at work in his duties as a producer. He was well aware that a new generation of listeners had come along, whose interests lay far from the beautifully crafted instrumental music that he favored, which was an outgrowth of the pop sides of such '40s artists as Tommy Dorsey, Harry James, and Glenn Miller -- they preferred music drawn from country and R&B sources. He had signed a Liverpool-based singer named Tony Sheridan, who was performing in Hamburg, and needed to recruit a band to play behind him on the proposed sides -- he auditioned and signed a quartet from Liverpool called the Beatles, and even cut a couple of interesting sides of theirs, "Ain't She Sweet" (sung by rhythm guitarist John Lennon) and the instrumental "Cry for a Shadow" (co-authored by Lennon and lead guitarist George Harrison) during his sessions for Sheridan; with its pounding beat and raw singing, the former wasn't Kaempfert's kind of music, but "Cry for a Shadow," with its rich melodic line and sonorous guitar, was perhaps as close as this new music ever came to his own. The Beatles' own sides didn't emerge until a couple of years later, when events made it economically feasible to do so, but Kaempfert's recording of the Beatles, even as a backing band for Sheridan, proved a vital catalyst to their entire subsequent success. Stylistically, none of the Kaempfert-recorded sides closely resembled the music for which they became famous, and had their path to being signed by George Martin at Parlophone Records resulted from, say, their being heard in a performance, those Hamburg-recorded sides would rate nothing more than a footnote in their history -- but those Polydor sides cut by Kaempfert played an essential role in their story. As Beatles biographer Philip Norman recalled in his book Shout!, on October 28, 1961, an 18-year-old printer's apprentice named Raymond Jones walked into the music store owned by Brian Epstein to ask for a copy of "My Bonnie," recorded by the Beatles (though it was actually credited to Tony Sheridan); the store didn't have it, but Epstein noted the request and was so intrigued by the idea of a Liverpool band getting a record of its own out that he followed up on it personally. Thus began a chain of events that led to his discovery of the Beatles and, through his effort, their signing by George Martin to Parlophone Records (they first had to get clear of any contractual claim by Polydor).

Kaempfert had become so successful as a recording artist that he was forced to give up his duties as a producer -- his records were selling by the hundreds of thousands, the album of Wonderland by Night even topping the American charts for five weeks in 1961. By 1965, he'd joined the ranks of film music composers with the soundtrack to a movie entitled A Man Could Get Killed -- the title song from the movie became "Strangers in the Night," which Frank Sinatra propelled to the top of the American and British charts. He followed this up a year later with another hit for Sinatra, "The World We Knew (Over and Over)." For Kaempfert, whose admiration of American music began with the big-band pop sound whence Sinatra had begun his career, those hits must have represented a deep personal triumph, transcending whatever money they earned -- indeed, he was selling records during the early '60s in the kind of quantities that rivaled Tommy Dorsey or Harry James' successes 20 years before, and he'd proved himself a prodigiously talented composer as well, an attribute that few of the big-band leaders possessed.

Although Kaempfert's chart placements faded by the end of the decade, there could be no disputing his impact on the popular culture of the 1960s, which was so widespread into so many different areas that few individuals appreciated its scope; teenagers, had they known of his role, could be grateful to him for giving the Beatles that all-important first break, while their parents may well have danced to "Wonderland by Night" and its follow-ups, their older siblings might well have orchestrated their romantic endeavors to "Strangers in the Night," and television viewers and casual radio listeners might well have heard and hummed the Kaempfert tunes "That Happy Feeling" (an early piece of world music pop, adapted from a piece by Ghana-born drummer Guy Warren), "Afrikaan Beat," or "A Swingin' Safari" (which, in a recording by Billy Vaughn, became the theme for the long-running game show The Match Game). His success as a composer was reflected in the five awards that he received from BMI in 1968 for "Lady," "Spanish Eyes," "Strangers in the Night," "The World We Knew," and "Sweet Maria." Kaempfert's chart placements vanished in the 1970s as the music marketplace (especially on radio) finally squeezed out the adult and older dance music listenership he'd cultivated. His records continued to sell, however, and his bookings remained healthy for another decade, and Kaempfert piled up awards in Germany. As he had with rock & roll, he also changed somewhat with the times -- when disco became popular in the mid-'70s, Kaempfert recorded a disco version of Isaac Hayes' "Theme from Shaft" that even impressed the composer. His sales were always healthy, if not substantial, in America, but in Europe he was still a top concert draw as well. Kaempfert died suddenly, at the age of 56, of a heart seizure while at his home in Mallorca, resting up after a triumphant British tour. In the years since, he has finally been recognized for the breadth of his achievements -- virtually his entire album catalog (and all of his hits) from the late '50s through the end of the 1960s remains in print on CD. Additionally, Kaempfert's recordings of the Beatles have at last been given the recognition that they deserved, in the form of a Bear Family Records box. Additionally, his own music has acquired a new fan base in tandem with the late-'90s boom of interest in 1950s pop instrumental (i.e., "bachelor's den" audio) music, and "Afrikaan Beat" is arguably as popular as incidental music in 2003 as it was in 1965, as well as closely associated with that past in American popular culture, itself a great achievement for the bandleader from Hamburg. ~ Bruce Eder, All Music Guide

Strangers In The Night

quarta-feira, 24 de março de 2010

Harry James and His Orchestra - 1939-1949

  1. Ciribiribin
  2. Mean to Me
  3. Undecided
  4. Rose Room
  5. My Baby Just Cares For Me
  6. Shady Lady Bird
  7. I've found A New Baby
  8. It Must Be Jelly
  9. Better Have Four
  10. Rank Frank

Arguably one of the greatest trumpet players in American popular music, Harry James had a natural rhythmic style that propelled his career for over 50 years.

Haryy James was born in Georgia, where his father was the leader of a circus band. By the age of five, Harry was playing drums and soon blowing trumpet solos under the big top. After a move to Texas, he attracted the attention of successful talent scout and bandleader Ben Pollack, who offered him a slot in his famous orchestra. In 1936 fellow Pollack alumnus Benny Goodman summoned James for his own brass section. Harry's outstanding trumpet choruses immediately made him a featured attraction. With Goodman's financial support, Harry formed his first orchestra in January of 1939; he was 23 years old. By July, Harry enlisted the talents of vocalist Frank Sinatra, who stayed just six months before later gaining acclaim with Tommy Dorsey's band.

Feeling the competition and eager to build a reputation, the orchestra embarked on a series of 500-mile one-night stands, including successful, nightly, remote radio broadcasts. Later, in what seemed at the time a controversial move, James augmented his ensemble sound by adding string players, giving a new dimension to the band's arrangements.

With his astute repertoire of nostalgic standards and original swing tunes, by the end of 1941, Harry James and His Orchestra were rated Number One in the nation. Like many band leaders, James also found success in Hollywood, where he met and married pinup girl Betty Grable. A continuous string of hit recordings for Columbia Records lasted until the mid-1950s. Even the demise of big band popularity didn't prevent James from headlining appearances and international tours for an additional 25 years. The majority of the recordings collected here are from live radio broadcasts. You can once again enjoy the rapport between the orchestra, the dancers, and the listeners at home.

(From the original liner notes)

Harry James was one of the most outstanding instrumentalists of the swing era, employing a bravura playing style that made his trumpet work instantly identifiable. He was also one of the most popular bandleaders of the first half of the 1940s, and he continued to lead his band until just before his death, 40 years later. James was the child of circus performers. His father, Everette Robert James, was the bandleader and trumpet player in the orchestra for the Mighty Haag Circus, and his mother, Maybelle Stewart Clark James, was an aerialist. Growing up in the circus, James became a performer himself as early as the age of four, when he began working as a contortionist. He soon turned to music, however, first playing the snare drum in the band from about the age of six and taking trumpet lessons from his father. At 12, he took over leadership of the second band in the Christy Brothers Circus, for which his family was then working. He attended grade school in Beaumont, TX, where the circus spent the winter, and when he was 14 he won a state music contest as a trumpeter. That inspired him to turn professional and begin playing in local bands. James' first job with a national band came in 1935 when he was hired by Ben Pollack. In May 1935, he married singer Louise Tobin, with whom he had two children and from whom he was divorced in June 1943. He made his first recordings as a member of the Pollack band in September 1936. Not long after, he was tapped by Benny Goodman, then leading one of the country's most popular bands, and he began working for Goodman by the end of 1936. He rapidly gained notice in the Goodman band, and by December 1937 he had begun to make recordings under his own name for Brunswick Records (later absorbed by Columbia Records). In early 1939, he left Goodman and launched his own orchestra, premiering it in Philadelphia in February. That spring, he heard the then-unknown Frank Sinatra on a radio broadcast and hired him. The band struggled, however, and when the more successful bandleader Tommy Dorsey made Sinatra an offer at the end of 1939, James did not stand in his way. Around the same time, he was dropped by Columbia and switched to the tiny Varsity Records label. After two years of difficulties in maintaining his band, James changed musical direction in early 1941. He added strings and turned to a sweeter, more melodic style, meanwhile re-signing to Columbia Records. The results were not long in coming. In April 1941, he first reached the Top Ten with the self-written instrumental "Music Makers." (His band was sometimes billed as Harry James and His Music Makers.) A second Top Ten hit, "Lament to Love," featuring Dick Haymes on vocals, followed in August, and late in the year James reached the Top Five with an instrumental treatment of the 1913 song "You Made Me Love You (I Didn't Want to Do It)." This was the record that established him as a star. But with its sweet style and what was frequently described as James' "schmaltzy" trumpet playing, it was also, according to jazz critic Dan Morgenstern (as quoted in the 1999 biography Trumpet Blues: The Life of Harry James by Peter J. Levinson), "the record that the jazz critics never forgave Harry for recording." James was second only to Glenn Miller as the most successful recording artist of 1942. During the year, seven of his recordings peaked in the Top Ten: the Top Five "I Don't Want to Walk Without You," with vocals by Helen Forrest; the number one instrumental "Sleepy Lagoon"; the Top Five "One Dozen Roses," with vocals by Jimmy Saunders; the Top Five instrumental "Strictly Instrumental"; "He's My Guy"; the Top Five "Mister Five by Five"; and "Manhattan Serenade," the last three with vocals by Helen Forrest. In September, when Miller went into the armed forces and gave up his radio show, Chesterfield Time, he handed it over to James, a symbolic transference of the title of top bandleader in the country. (James was ineligible for military service due to a back injury.) Meanwhile, wartime travel restrictions and the recording ban called by the musicians union, which took effect in August 1942, had limited James' touring and recording activities, but another avenue had opened up. He began appearing in movies, starting with Syncopation in May 1942 and continuing with Private Buckaroo in June and Springtime in the Rockies in November. His next hit, "I Had the Craziest Dream," with vocals by Helen Forrest, was featured in Springtime in the Rockies; it hit number one in February 1943. The movie is also memorable for having starred Betty Grable, whom James married in July 1943; they had two children and divorced in October 1965. "I Had the Craziest Dream" was succeeded at number one in March 1943 by another James record with a Helen Forrest vocal, "I've Heard That Song Before." "Velvet Moon," an instrumental, followed and did almost as well, but with that Columbia's stockpile of James recordings made just before the start of the recording ban was almost exhausted. The label went into its vaults and began reissuing older James recordings. Frank Sinatra had recently emerged as a solo star, and in the spring of 1943, Columbia reissued "All or Nothing at All," a song he had recorded as James' vocalist in 1939; the song reached the Top Five. Next, Columbia released "I Heard You Cried Last Night," a year-old recording with a Helen Forrest vocal; it too reached the Top Five. Once again, James ranked as the second most successful recording artist of the year, just behind Bing Crosby. Meanwhile, James was based in New York, doing his three-times-a-week radio show and appearing at major venues such as the Paramount Theatre and on the Astor Hotel Roof. He also appeared in the June 1943 film release Best Foot Forward. Decca Records settled with the musicians' union in 1943, which gave its recording stars an advantage, but while Bing Crosby, the Andrews Sisters, and Jimmy Dorsey (all on Decca) were the top recording artists of 1944, James came in fourth without ever stepping into a recording studio. His instrumental "Cherry," recorded in 1942, became a Top Five hit early in the year; "I'll Get By (As Long as I Have You)," recorded in 1941 with Dick Haymes on vocals, hit number one in June; and he had eight other chart records during the year. He also continued with his radio show through March and had two films, Two Girls and a Sailor and Bathing Beauty, in release in June. The two remaining major labels, Columbia and RCA Victor, came to terms with the musicians' union in November 1944, freeing James to return to the recording studio. This resulted in seven Top Ten hits in 1945: the number one "I'm Beginning to See the Light"; "I Don't Care Who Knows It"; "If I Loved You"; "11:60 P.M."; the Top Five "I'll Buy That Dream"; "It's Been a Long, Long Time"; and "Waitin' for the Train to Come In." "If I Loved You" had vocals by Buddy DiVito; all the rest had vocals by Kitty Kallen. That was enough to make him the third most successful recording artist of 1945, behind only Bing Crosby and Sammy Kaye. Meanwhile, he and his band became regulars on the Danny Kaye Show radio series in January 1945, and he hosted its summer replacement program from June to September. James scored two Top Ten hits in early 1946 -- the Top Five "I Can't Begin to Tell You," which featured a pseudonymous vocal by his wife Betty Grable, and "I'm Always Chasing Rainbows," with a vocal by Buddy DiVito -- but then his recording success began to decline, though he managed one more Top Ten hit, "This Is Always," with Buddy DiVito on vocals, in the fall. Having appeared in a number of films, he formally signed a movie contract with 20th Century Fox, resulting in bigger parts in Do You Love Me?, released in May, and If I'm Lucky, out in September. He also took to the road for the first time since the end of the war. The declining popularity of the big bands led many to break up in December 1946, James' orchestra among them. But in January 1947, his All Time Favorites collection was at the top of the album charts, indicating he was still broadly popular, and within months he had re-organized his band, reducing the number of strings (and soon eliminating them entirely), and taking a more jazz-oriented approach. He scored only one Top Ten hit in 1947, "Heartaches," with vocals by Marion Morgan. And he appeared in the film Carnegie Hall in May. James appeared in the film A Miracle Can Happen (aka On Our Merry Way) in February 1948, the same month he became a regular on the radio show Call for Music, which ran until June. He was not much visible in 1949, but in February 1950, his trumpet playing was heard in the film Young Man with a Horn, though the man fingering the trumpet onscreen was Kirk Douglas. The Young Man with a Horn soundtrack, credited to James with Doris Day, hit number one in May 1950. Repeating that pairing, Columbia teamed James with Day for "Would I Love You (Love You, Love You)," which hit the charts in March 1951 and reached the Top Ten. Similar success was achieved with "Castle Rock," which paired James with Frank Sinatra and reached the charts in September. Meanwhile, James had his own TV series, The Harry James Show, which ran on a Los Angeles station for the first six months of 1951. From this point on, James maintained his band as a touring unit, though he was less frequently glimpsed in the media. He played himself in the film biography The Benny Goodman Story in 1955, the same year that, having moved to Capitol Records, he released Harry James in Hi-Fi, an album of re-recordings of his hits that reached the Top Ten in November. (The 1999 compilation Trumpet Blues: The Best of Harry James combines tracks from this album and its follow-up, More Harry James in Hi-Fi.) By now, he was deliberately trying to make his band sound like Count Basie's. He was back onscreen in November 1956 in the film The Opposite Sex. He made his first major tour of Europe in October 1957, and in ensuing years he alternated national and international tours with lengthy engagements at Las Vegas hotels. There were two more film appearances, The Big Beat (June 1958) and The Ladies Man (July 1961). James performed regularly through the early '80s. He was diagnosed with lymphatic cancer in 1983, but continued to play, making his last appearance only nine days before his death at 67. Led by trumpeter Art Depew, his band continued to perform. No one questioned James' talent as a jazz trumpeter, though after his commercial ascendance in 1941 many jazz critics dismissed him. After his period of greatest success, he turned back to a more jazz-oriented style, which failed to change the overall impression of him, if only because he was no longer as much in the public eye. Nevertheless, his swing hits remain among the most popular music of the era. In addition to the Columbia recordings from his heyday, there are numerous other titles in his discography, notably many airchecks, though his recordings of the '50s are also worth seeking out. ~ William Ruhlmann, All Music Guide

terça-feira, 23 de março de 2010

Royal Philharmonic Orchestra - Strauss

  1. The Emperor Waltz, Op. 437 (Johann Jr.)
  2. Waltz: On the beautiful Blue Danube, Op. 314 (Johann Jr.)
  3. Overture to "Die Fledermaus", Op. 362 (Johann Jr.)
  4. Feuerfest Polka, Op. 269 (Josef)
  5. Tritsch-Tratsch Polka, Op. 214 (Johann Jr.)
  6. Pizzicato Polka (Johann & Josef)
  7. Perpetuum Mobile, Op. 257 (Johann Jr.)
  8. Bahn frei Polka, Op.45 (Eduard)
  9. Radetsky March, Op. 228 (Johann Sr.)
  10. Tales from the Vienna Woods, Op. 325 (Johann Jr.)
  11. Thunder & Lightning Polka, Op. 324 (Johann Jr.)
  12. Waltz: Roses from the South, Op. 388 (Johann Jr.)
Royal Philharmonic Orchestra

Patron: Her Majesty Queen Elizabeth The Queen Mother
President/Associate Conductor: The Lord Menuhin OM KBE
Music Director: Vladimir Ashkenazy
Principal Conductor: Yuri Temirkanov
Principal Guest Conductor: Sir Charles Mackerras CBE
Associate Conductor/Composer: Sir Peter Maxwell Davies CBE
Associate Conductor: Vernon Handley
Associate Conductor: Gennadi Rozhdestvensky

The Royal Philharmonic Orchestra was founded in 1946 by Sir Thomas Beecham who was the Music Director until his death in 1961. The Orchestra's first concert, conducted by Sir Thomas, took place in the Davis Theatre, Croydon on 15 September 1946.

By handpicking the personnel of his Royal Philharmonic Orchestra Sir Thomas attracted some of Britain's most outstanding musicians. Through its many concerts, recordings and broadcasts, the Royal Philharmonic Orchestra became internationally established as a virtuoso body quite unlike any other orchestra, founding a unique tradition in which there was a combination of discipline and flexibility, individual artistry, virtuosity and ensemble that stemmed from Beecham's relationship with his chosen players.

The tradition subsequently attracted conductors of the greatest quality and diversity. During the latter part of the Beecham era, the Royal Philharmonic Orchestra formed particularly fruitful relationships with three very different conductors: Artur Rodzinski, George Prêtre and Rudolf Kempe.

In 1961 after Sir Thomas's death, Rudolf Kempe became Music Director and established new artistic and professional directions for the Orchestra. It was also during this period, in 1963, that the Orchestra became a self-governing body. The members incorporated themselves into a limited liability company with a Board of Directors elected by the shareholders. This has been the Royal Philharmonic Orchestra's form of constitution ever since; and in 1966 Her Majesty The Queen conferred the Royal title upon the Orchestra.

Rudolf Kempe remained with the Royal Philharmonic Orchestra until 1975, and during his era the Orchestra had important associations with Sir Malcolm Sargent and Sir Charles Groves and special relationships with such international conductors as Leopold Stokowski, Erich Leinsdorf, Kyril Kondrashin, Charles Dutoit and Jean Martinon. In 1964 Igor Stravinsky chose the Royal Philharmonic Orchestra for the recording of his opera "The Rake's Progress".

Following Rudolf Kempe, the Orchestra continued to attract some of the world's most outstanding conductors as Music Directors including Antal Dorati, Walter Weller, André Previn and Vladimir Ashkenazy, the Orchestra's current Music Director. The Orchestra has also formed special associations with Lord Menuhin, Yuri Temirkanov and Sir Charles Mackerras. With these and other artists the Orchestra continues to make major recordings for the international market, some of which have been made for the Orchestra's own label.

The Royal Philharmonic Concert Orchestra, formerly the Royal Philharmonic Pops Orchestra was established in 1987 to meet the increasing demand for light classical music, in tours throughout the UK and abroad providing a versatile blend of entertainment ranging from Viennese Nights, Opera Galas, Last Night of the Proms evenings and Grand Tchaikovsky Fireworks Concerts.

The Royal Philharmonic Orchestra is profoundly committed to the future. Sir Peter Maxwell Davies was appointed Associate Conductor/Composer of the Orchestra from the beginning of the 1992/93 season, creating an important opportunity for the players to collaborate closely with a major contemporary composer. The Orchestra will continue to give concerts in London and abroad and, additionally, will renew its commitment to national touring in Britain and to its already flourishing program of community and educational work, to bring music with international artists to as wide an audience as possible throughout the United Kingdom and the world.

Peter Guth

Educated in Vienna and at the Moscow Conservatory, where he studied with David Oistrakh for three years, Peter Guth first appeared on the international concert scene as a soloist and with the Vienna Trio. Educational work and publications on modern violin methodology, active interest in nwe music and unusual concert planning, as well as his earlier position as first concert-master of the ORF-Symphony Orchestra give a comprehensive picture of this versatile and renowned Austrian musician.

Already as leader of the Johann Strauss Ensemble of the Vienna Symphony Orchestra, he was able to contribute significantly to the renewed popularity of classic Viennese dance music. In 1978 he founded his own Strauss-Festival-Orchestra Vienna, a leading group of Vienna's best musicians, which performs at important international festivals, records and tours in many countries and recently has outstanding success with its second visit to China.

Peter Guth is repeatedly invited as guest conductor by over 50 renowned symphony orchestras and he is internationally regarde as one of the most important exponents of Viennese music. His recent activities include concert series and recordings with the Royal Philharmonic Orchestra London and the NHK Symphony Orchestra Tokyo, Musical Director of the first Viennese Operetta Festival in Japan as well as a sensational American début with the San Francisco Symphony.

 Johann Strauss Sr.

Johann Strauss Jr.

Josef Strauss

Eduard Strauss

"Vienna without Strauss is like Austria without the Danube" - quoted by Hector Berlioz

The above quotation appeared in Berlioz's heartfelt tribute to the founder of the musical Strauss dynasty on his death in 1849, and reflected the sense of profound loss experienced by all who had come into contact with him and his music. The Strauss in question was Johann, whose three sons, Josef, Eduard and Johann II, all continued the family business, and whose descendants are still active today in the promotion of Straussiana. It was Johann II, sometimes referred to as "The Waltz King", who made the biggest name for himself, and who is remembered today for his glorious waltz sequences and operettas. Nevertheless, each member of the Strauss family made his own distinct contribution to the success of the Strauss orchestra, turning it into a hugely successful music business that thrived until its dissolution in 1901.

It all began when the first Johann Strauss (1804-1849) was given his first violin. Johann had grown up in his father's tavern, and had been fascinated by the playing of the groups of itinerant musicians that frequented the place. His father died when the boy was in his early teens, and it was his step-father who finally gave in to the boy's pleading and bought him a small Bavarian fiddle. By the age of fifteen he was playing in a small dance orchestra, and before long was leading his own band in the dance halls and cafes that were so popular in Vienna. His orchestra and, more particularly, the music he wrote for it, became immensely popular, and Strauss took his music around the world, visiting Germany, the Netherlands, Belgium, Paris and London.

Sadly, little of his music is heard today, although most of it is of a consistently high standard. One work, however, has remained constantly in the repertoire - the ever popular "Radetsky March". Field-Marshal Johann Josef Wenzel (alias Count Radetsky von Radetz) was the Commander-in-Chief of the Austrian army, and led a successful attack against the Italian troops at Custozza in 1848. A festival was arranged to celebrate this important victory, and Strauss senoir was asked to compose something new for the occasion. The result was this inspiring march, which became an immediate success, and which has eclipsed his fine dance music. The score incorporates popular Viennese folk songs of the day, and was evidently the result of a collaboration between Strauss and a flautist in his orchestra, Philipp Fahrbach.

Johann tried to discourage his children from following in his footsteps, and attempted to push them into careers that would bring greater financial security. Consequently, his eldest son Johann II (1825-1899) took violin lessons in secret, and his father was apparently quite shocked when he discovered the musicality of the son. Strauss set up his own orchestra, and for a time there was some rivalry between the two. At his father's death Johann II amalgamated the two orchestras, and made enormously successful concert tours through Austria, Germany, Poland and Russia. The four famous waltz sequences on this recording demonstrate his prowess both as a melodist and as an orchestrator, and show how he could turn a simple string of waltzes into a large, coherent structure. Many of the Strauss family's shorter dances are characterized by gimmicks, or by commemorating contemporary figures, institutions and events, which of course helped their audiences to distinguish one piece from another. The lively "Tritsch-Tratsch Polka" was named after a Viennese satirical newspaper, and the "Thunder and Lightning Polka" and "Pizzicato Polka" are self-explanatory, the latter piece being a collaboration with his brother Josef. The delightful "Perpetuum Mobile" is a 'musical joke' that wittily celebrates the art of going on forever with nothing particular to say. Johann II eventually cut down on his conducting activities to concentrate on composition, particularly in the field of operetta. By far his most popular work for the theatre was "Die Fledermaus (The Bat)", whose lilting melodies and captivating rhythms have enchanted generations of music lovers. The "Overture" incorporates several of the show's biggest hits, and has deservedly become a firm orchestral favorite.

Although Johann II was by far the most successful member of the Strauss family, he always maintained that his younger brother Josef was the most gifted of all of the three brothers. Josef Strauss (1827-1870) never intended to follow a musical profession, having set himself up as an inventor of some distinction. (He invented a street cleaning machine that was actually purchased by the Vienna city council). He was persuaded to take over the orchestra briefly when Johann II suffered a serious collapse, and he eventually resigned himself to the inevitable. He composed over 300 original works, including the French polka "Feuerfest! (Fireprof!)", which was written to commemorate the 20,000th safe made by a Viennese manufacturer.

The youngest of the three brothers was Eduard Strauss (1835-1916), who managed to keep the orchestra going until 1901, when it was finally dissolved. Much of his work compares unfavorably with that of his two brothers, although his fast polkas became quite celebrated. One of the best of these was "Bahn frei! (Clear the track!)", one of a number of Strauss family compositions to refer to contemporary transportation systems. Eduard's other claim to fame is that he remorselessly consigned cartloads of original Strauss manuscripts and arrangements to the flames, in compliance with instructions contained in Johann II's will. Seemingly, this was done to prevent unscrupulous persons from profiting from the hard labors of the Strauss family, but it has also deprived posterity of countless original works.

(Brendan Beales, from original album lines)

segunda-feira, 22 de março de 2010

Saint-Preux - Impressions

  1. Missa Amoris
  2. Le Depart
  3. Le Concert Sous-Marin
  4. Adagio Pour Piano
  5. Allegretto Pour Flute
  6. Impressions
  7. Le Reve
  8. Concerto Pour Piano
  9. Feel Good
  10. Where Angels Go
  11. Le Piano D'Abigail I
  12. Allegories
  13. Le Chant Des Etoiles
  14. Etude
  15. Atlantis
  16. Apres Demain
  17. Amour Fusion
  18. Sur Les Ailes Du Temps
  19. Legende
  20. Aria De Syrna
  21. Missa Amoris (Final)

Saint-Preux (born 1950), whose real name is Christian Langlade, is a contemporary French composer who has been composing from his youth on. In August 1969 he took part in the Sopot International Song Festival in Poland where the then 19-year old successfully conducted a symphony orchestra and won a prize with his first grand composition La valse de l'enfance (engl. The waltz of youth). Encouraged by this appreciation Saint-Preux was able to work all nights long on his second composition Concerto pour une voix (engl. Concerto for one voice) whilst his stay in Poland. It was this second oeuvre that gained broad recognition and which placed the young composer among the forefront of the musical scene. He finally achieved his breakthrough in public with the titles Le Piano sous la mer (engl. The piano under the sea), La Fête triste (engl. The sad festival), Missa Amoris and Symphonie pour la Pologne (engl. Symphony for Poland).

Using his popularity to further the humanitarian cause of Unicef Saint-Preux composed Les cris de la Liberté (engl. The cries of Liberty), a hymn on peace and human rights, for the festivities of the bicentennial anniversary of the storming of the Bastille. It was during this event that Saint-Preux met Pope John Paul II whom he also dedicated Les cris de la Liberté to.

Saint-Preux has been given the opportunities to work together with some of the greatest orchestras, among them the London Symphony Orchestra, the Polish Symphony Orchestra, the Choirs of Krakow, the Paris Philharmonic Orchestra and the Montreal Symphonic Orchestra.

Recently, Saint-Preux adapted Concerto pour une voix to be sung by two singers. This latter version Concerto pour deux voix (engl. Concerto for two voices) gained wide public attention in France when the composer's daughter Clemence sung it together with the young singer Jean-Baptiste Maunier.


Concerto pour une voix (1969)
Le piano sous la mer (1972)
La passion (1973)
La fête triste (1974)
Your hair & Missa Amoris (1975)
Concerto pour piano (1975)
Symphonie pour la Pologne (1977)
To be or not (1980)
Le paino d'Abigaïl (1983)
Atlantis (1983)
Phytandros (1991)
Free Yourself (1999)

(from Answers.com)

domingo, 21 de março de 2010

Orquestra Românticos de Cuba - ... Em Paris

  1. Bolero / Dans Mon Ile
  2. Au Revoir / Menilmontant
  3. Chanson Du Moulin Rouge / The Last Time I Saw Paris
  4. Pauvre Petite Fille Riche / Les Temps De Guitares
  5. Trop Beau / Oui, Oui, Oui
  6. Et Maintenant / Les Feuilles Mortes
  7. Quand L'Amour Est Mort / Dominique
  8. Miséreré / Embrasse-Moi
  9. Rose / Mon Dieu
Em Paris

sábado, 20 de março de 2010

A Música e o Cinema - Disco 3 - Favoritas de Sempre - Vários Artistas

  1. Tema de "New York, New York" - Gordon Langford
  2. Do You Know Where You're Going to ("Mahogany") - Romantic Strings
  3. Tema de "Carruagens de Fogo" - Johnny Gregory
  4. Call Me ("Gigolô Americano") - Johnny Gregory
  5. Tema de "Arquivo X" - The London Theatre Orchestra
  6. You'll Be in My Heart ("Tarzan") - Ralph Benatar
  7. Now We Are Free ("O Gladiador") - The Lavender Hill Orchestra
  8. Tema de "O Carteiro e o Poeta" - The Lavender Hill Orchestra
  9. Tema de "Babe, o Porquinho Atrapalhado" - The Lavender Hill Orchestra
  10. Beautiful Stranger ("Austin Powers, o Espião Bond Cama") - The Lavender Hill Orchestra
  11. These Boots Are Made for Walkin' ("A Mexicana") - The Mike Morrison Congregation
  12. Can't Fight the Moonlight ("Show Bar") - Pietro Lacirignola
  13. Under the Sea ("A Pequena Sereia") - The Movie Sound Orchestra
  14. I Will Always Love You ("O Guarda-Costas") - David Cullen
A Música e o Cinema 3

sexta-feira, 19 de março de 2010

A Música e o Cinema - Disco 2 - De Amor e Romance - Vários Artistas

  1. A Love Before Time ("O Tigre e o Dragão") - The Lavender Hill Orchestra
  2. Tema de "Anastasia" - London Cinema Orchestra
  3. The Shadow of Your Smile ("The Sandpiper") - Charles Gerhardt
  4. Go the Distance ("Hercules") - The Lavender Hill Orchestra
  5. Tema de Amor de "Romeu e Julieta" - Henry Mancini
  6. Tema de "Emmanuelle" - Francis Goya
  7. Medley de "Pocahontas" - Berdien Stenberg
  8. The Summer Knows ("Verão de 42") - Peter Nero
  9. (Everything I Do) I Do it for You ("Robin Hood - Príncipe dos Ladrões") - Larry Dalton
  10. A Whole New World ("Aladdin") - David Cullen
  11. Tema de "Laços de Ternura" - The Royal Philharmonic Orchestra
  12. Can You Feel the Love Tonight ("O Rei Leão") - Gordon Langford
  13. I Say a Little Prayer ("O Casamento do Meu Melhor Amigo") - Romantic Strings
  14. My Heart Will Go on ("Titanic") - Larry Dalton
A Música e o Cinema 2

quinta-feira, 18 de março de 2010

A Música e o Cinema - Disco 1 - Os Temas Clássicos - Vários Artistas

  1. Over the Rainbow ("O Mágico de Oz") - Hill Bowen
  2. Somewhere, My Love ("Dr. Jivago") - Wally Stott
  3. Everybody's Talkin' ("Perdidos na Noite") - Johnny Keating
  4. Tema de "Bonnie e Clyde - Uma Rajada de Balas" - David Whitaker
  5. Tema de "Era uma Vez no Oeste" - Norman Percival
  6. Tema de "Bullitt" - Lalo Schifrin
  7. Tema de "A Pantera Cor-de-Rosa" - Henry Mancini
  8. Tema de "Nunca aos Domingos" - Hill Bowen
  9. Tema de "Cabaret" - Gordon Langford
  10. Three Coins In the Fountain ("A Fonte dos Desejos") - Charles Gerhardt e RCA Symphony Orchestra
  11. Calling You ("Bagdad Cafe") - Dominique de Marcis
  12. Tema de "A Doce Vida" - Hill Bowen
  13. Tema de "Num Lago Dourado" - Johnny Pearson
  14. My Favourite Things ("A Noviça Rebelde") - Ken Thorne
A Música e o Cinema 1

Inúmeras canções fascinantes escritas originalmente para o cinema ganharam repercussão e prestígio muito além da tela grande! Os filmes ajudaram a projetar pérolas da música internacional, mas suas melodias, por sua vez, tornaram memoráveis diversas cenas, histórias de amor e personagens que viverão para sempre em nossos corações.

Embora "Somewhere, My Love", de 'Dr. Jivago', "Can You Feel the Love Tonight", de 'O Rei Leão', a canção tema de "New York, New York" e "Over the Rainbow", de 'O Mágico de Oz', nos remetam a ambientes e sentimentos diferentes, todas elas traduzem a magia do cinema, algo que transcende até mesmo os limites da chamada "sétima arte".

Esta coleção exclusiva fará você recordar clássicos eternos do cinema, como os musicais "Cabaret" e "A Noviça Rebelde", e reviver emoções de filmes mais recentes, como "O Tigre e o Dragão" e "Gladiador", entre tantos outros sucessos internacionais.

Para interpretar estes belos temas, convidamos solistas e orquestras de renome, responsáveis por arrebatadoras gravações, ora grandiosas e imponentes, ora doces e românticas. Prepare-se para viver todas as emoções que esperam por você nesta coleção exclusiva!

(Extraído das notas originais do álbum)

quarta-feira, 17 de março de 2010

Malcolm Lockyer and His Orchestra - Fox Trots For Dancing

  1. Top Hat / Let's Face the Music and Dance
  2. Love Walked In / I Kiss Your Hand, Madame
  3. I'm Gonna Sit Right Down and Write Myself A Letter / With A Little Bit of Luck
  4. Marie / Cheek to Cheek
  5. Whispering / All I Do Is Dream of You
  6. Avalon / Tip-Toe Through the Tulips
  7. I've Got You Under My Skin / A Fine Romance
  8. Who's Sorry Now / I Can't Give You Anything But Love
  9. Five Foot Two, Eyes of Blue / Toot, Toot, Tootsie
  10. The Way You Look Tonight / Thank Heaven For Little Girls
Fox Trots For Dancing

terça-feira, 16 de março de 2010

The Jazz Masters - 100 anos de Swing - Dixieland Classics

  1. Muskrat Ramble - Chris Barber
  2. Canal Street Blues - Chris Barber
  3. I Wish I Could Shimmy Like My Sister Kate - Chris Barber
  4. High Society - Chris Barber
  5. All of Me - Chris Barber
  6. Royal Garden Blues - Chris Barber
  7. St. Phillip Street Breakdown - Chris Barber
  8. When You're Smiling - Max Collie's Rhythm Ace
  9. Doctor Jazz - Max Collie's Rhythm Ace
  10. I'm Crazy About My Baby (And My Baby's Crazy About Me)
Dixieland Classics
Trombonist and bandleader Chris Barber spearheaded the Anglo-European trad jazz movement during the late '50s and early '60s and devoted 60 years to the endless celebration of old-fashioned music. But that's only part of his story. Even as he presided over that transatlantic response to the Dixieland revival, Barber went out of his way to make music with U.S. blues legends Big Bill Broonzy, Brother John Sellers, Sonny Terry, Brownie McGhee, Otis Spann, Muddy Waters, James Cotton, and Sonny Boy Williamson II. This cross-pollination dramatically affected the lives and careers of budding British rockers such as the Rolling Stones, the Yardbirds, Eric Burdon, Jimmy Page, and John Mayall.

Donald Christopher "Chris" Barber was born on April 17, 1930, in Welwyn Garden City, Hertfordshire, just north of London, England. After studying double bass and trombone at London's Guildhall School of Music, he assembled the King Oliver-inspired Barber New Orleans Band in 1949. In 1953 he co-founded a group called the Jazzmen with Ken Colyer, a cornetist who had just returned from New Orleans where he had worked with clarinetist George Lewis. In 1954 the group was rechristened Chris Barber's Jazz Band. Trumpeter Pat Halcox had begun what would amount to a 59-year commitment, banjoist/guitarist Lonnie Donegan now sang songs from the jazz, blues, and folk traditions, and Barber sometimes performed on the string bass while Beryl Bryden stroked a washboard.

Donegan and Barber are credited with having ignited the mid-'50s U.K. skiffle movement with a 1955 cover of Leadbelly's "Rock Island Line" that went gold on both sides of the Atlantic. Another of the band's chart-topping hits was its interpretation of Sidney Bechet's "Petite Fleur," a feature for clarinetist Monty Sunshine that led to the eventual rise of pop instrumentalist Acker Bilk. The year 1955 also saw the arrival of Barber's future wife, vocalist Ottilie Patterson, a blues-based performer who sang duets with Sister Rosetta Tharpe when the gospel/swing star sat in with the band in 1957. Barber's often surprisingly diverse lineup also included Jamaican saxophonists Joe Harriott and Bertie King.

In 1959 Barber went cinematic by generating music for Look Back in Anger, a film noir exercise in kitchen sink realism directed by Tony Richardson and starring Richard Burton as a violently misogynistic, emotionally disturbed confection peddler and part-time Dixieland trumpeter (dubbed by Pat Halcox). Barber made the first of many U.S. tours in 1959, bringing out of the woodwork African-American jazz veterans like pianist Hank Duncan, clarinetist Edmond Hall, trumpeter Sidney DeParis, and rhythm & blues pioneer singer/saxophonist Louis Jordan. Barber's 1960s discography includes air shots from the BBC radio archives and live recordings made in Budapest and East Berlin, with gospel and folk material enriching the already fertile ground of the band's repertoire. As the years passed, a gradually renamed Chris Barber's Jazz & Blues Band regularly employed blues and rock musicians, blurring the artificially imposed delineations between genres while offering music that was accessible to a wide range of listeners.

Barber spent a lot of time performing in Europe during the 1970s, and after the passing of Duke Ellington deliberately sought out some of Duke's key soloists in organist Wild Bill Davis, saxophonist Russell Procope, and singer/trumpeter/violinist Ray Nance. Throughout the 1980s Barber stayed faithful to his traditional and progressive instincts by teaming up with Louisiana singer, philosopher, and keyboardist Dr. John. Originally from backgrounds as different as could be, the two made several records together and toured a show called Take Me Back to New Orleans. The 1990s and the first decade of the 21st century found Barber carrying the torch of trad jazz into a sixth decade of creative professional activity, often expanding his group to include 11 players while consistently delivering music of unpretentious warmth and historic depth. ~ arwulf arwulf, All Music Guide 

A fine trombonist who is actually more significant as a bandleader, Max Collie has been an important force in the Australian trad jazz movement since the 1950s. Collie led the Jazz Bandits (1948-1950) and the Jazz Kings (1950-1962), part-time groups that gave him a great deal of practical experience. In 1962, Collie joined the Melbourne New Orleans Jazz Band. When they visited England in 1963, he stayed overseas, becoming a member of the London City Stompers. In 1966, he became the group's leader and they were renamed Rhythm Aces. The group toured constantly during the late '60s and all throughout the 1970s and early '80s, often playing 250 concerts a year; the talented Phil Mason was the group's cornetist. Collie's first records as a leader were made for the WAM label in Hamburg, West Germany, in 1971. Since then he and his Rhythm Aces have also recorded for Reality, Happy Bird, Black Lion, GHB (during a 1974 tour, one of three that the group made of the United States), the Bix Lives label, Sweet Folk (a Swedish company), Esperance, Beerendonk, and most notably Timeless. ~ Scott Yanow, All Music Guide

segunda-feira, 15 de março de 2010

Woody Herman and His Thundering Herd - Keep on Keepin' on: 1968-1970

  1. Light My Fire
  2. Keep on Keepin' on
  3. Impressions of Strayhorn
  4. Pontieo
  5. I Say a Little Prayer
  6. Hush
  7. My Cherie Amour
  8. Catch That Bird
  9. I Can't Get Next to You
  10. Aquarius
  11. Blues in the Night
  12. A Time for Love
  13. Smiling Phases
  14. The Indigenous Artifact
Keep on Keepin' on

Woody Herman

(born May 16, 1913, Milwaukee, Wis., U.S. — died Oct. 29, 1987, Los Angeles, Calif.) U.S. clarinetist, saxophonist, singer, and leader of one of the most popular big bands in jazz. Herman formed his first band in 1936. Known as "The Band That Plays the Blues," the group had a hit in 1939 with "Woodchopper's Ball." His 1940s bands, the Thundering Herds, evolved into powerful and colourful ensembles that combined a light rhythm-section sound with explosive, forward-looking arrangements. He led his bands almost continuously for more than 50 years, and in them many notable jazz musicians gained early professional exposure.

American jazz musician and bandleader who for 50 years directed a series of energetic bands called the "Thundering Herds."

A fine swing clarinetist, an altoist whose sound was influenced by Johnny Hodges, a good soprano saxophonist, and a spirited blues vocalist, Woody Herman's greatest significance to jazz was as the leader of a long line of big bands. He always encouraged young talent and, more than practically any bandleader from the swing era, kept his repertoire quite modern. Although Herman was always stuck performing a few of his older hits (he played "Four Brothers" and "Early Autumn" nightly for nearly 40 years), he much preferred to play and create new music.

Woody Herman began performing as a child, singing in vaudeville. He started playing saxophone when he was 11, and four years later he was a professional musician. He picked up early experience playing with the big bands of Tom Gerun, Harry Sosnik, and Gus Arnheim, and then in 1934, he joined the Isham Jones orchestra. He recorded often with Jones, and when the veteran bandleader decided to break up his orchestra in 1936, Herman formed one of his own out of the remaining nucleus. The great majority of the early Herman recordings feature the bandleader as a ballad vocalist, but it was the instrumentals that caught on, leading to his group being known as "the Band That Plays the Blues." Woody Herman's theme "At the Woodchopper's Ball" became his first hit (1939). Herman's early group was actually a minor outfit with a Dixieland feel to many of the looser pieces and fine vocals contributed by Mary Ann McCall, in addition to Herman. They recorded very frequently for Decca, and for a period had the female trumpeter/singer Billie Rogers as one of its main attractions.

By 1943, the Woody Herman Orchestra was beginning to take its first steps into becoming the Herd (later renamed the First Herd). Herman had recorded an advanced Dizzy Gillespie arrangement ("Down Under") the year before, and during 1943, Herman's band became influenced by Duke Ellington; in fact, Johnny Hodges and Ben Webster made guest appearances on some recordings. It was a gradual process, but by the end of 1944, Woody Herman had what was essentially a brand new orchestra. It was a wild, good-time band with screaming ensembles (propelled by first trumpeter Pete Candoli), major soloists in trombonist Bill Harris and tenorman Flip Phillips, and a rhythm section pushed by bassist/cheerleader Chubby Jackson and drummer Dave Tough. In 1945 (with new trumpeters in Sonny Berman and Conte Candoli), the First Herd was considered the most exciting new big band in jazz. Several of the arrangements of Ralph Burns and Neal Hefti are considered classics, and such Herman favorites entered the book as "Apple Honey," "Caldonia," "Northwest Passage," "Bijou" (Harris' memorable if eccentric feature), and the nutty "Your Father's Mustache." Even Igor Stravinsky was impressed, and he wrote "Ebony Concerto" for the orchestra to perform in 1946. Unfortunately, family troubles caused Woody Herman to break up the big band at the height of its success in late 1946; it was the only one of his orchestras to really make much money. Herman recorded a bit in the interim, and then, by mid-1947, had a new orchestra, the Second Herd, which was also soon known as the Four Brothers band. With the three cool-toned tenors of Stan Getz, Zoot Sims, and Herbie Steward (who a year later was replaced by Al Cohn) and baritonist Serge Chaloff forming the nucleus, this orchestra had a different sound than its more extroverted predecessor, but it could also generate excitement of its own. Trumpeter/arranger Shorty Rogers and eventually Bill Harris returned from the earlier outfit, and with Mary Ann McCall back as a vocalist, the group had a great deal of potential. But, despite such popular numbers as Jimmy Giuffre's "Four Brothers," "The Goof and I," and "Early Autumn" (the latter ballad made Getz into a star), the band struggled financially. Before its collapse in 1949, such other musicians as Gene Ammons, Lou Levy, Oscar Pettiford, Terry Gibbs, and Shelly Manne made important contributions.

Next up for Woody Herman was the Third Herd, which was similar to the Second except that it generally played at danceable tempos and was a bit more conservative. Herman kept that band together during much of 1950-1956, even having his own Mars label for a period; Conte Candoli, Al Cohn, Dave McKenna, Phil Urso, Don Fagerquist, Carl Fontana, Dick Hafer, Bill Perkins, Nat Pierce, Dick Collins, and Richie Kamuca were among the many sidemen. After some short-lived small groups (including a sextet with Nat Adderley and Charlie Byrd), Herman's New Thundering Herd was a hit at the 1959 Monterey Jazz Festival. He was able to lead a big band successfully throughout the 1960s, featuring such soloists as high-note trumpeter Bill Chase, trombonist Phil Wilson, the reliable Nat Pierce, and the exciting tenor of Sal Nistico. Always open to newer styles, Woody Herman's bop-ish unit gradually became more rock-oriented as he utilized his young sidemen's arrangements, often of current pop tunes (starting in 1968 with an album titled Light My Fire). Not all of his albums from this era worked, but one always admired Herman's open-minded attitude. As one of only four surviving jazz-oriented bandleaders from the swing era (along with Duke Ellington, Count Basie, and Stan Kenton) who was still touring the world with a big band, Herman welcomed such new talent in the 1970s as Greg Herbert, Andy Laverne, Joe Beck, Alan Broadbent, and Frank Tiberi. He also recorded with Chick Corea, had a reunion with Flip Phillips, and celebrated his 40th anniversary as a leader with a notable 1976 Carnegie Hall concert.

Woody Herman returned to emphasizing straight-ahead jazz by the late '70s. By then, he was being hounded by the IRS due to an incompetent manager from the 1960s not paying thousands of dollars of taxes out of the sidemen's salaries. Herman, who might very well have taken it easy, was forced to keep on touring and working constantly into his old age. He managed to put on a cheerful face to the public, celebrating his 50th anniversary as a bandleader in 1986. However, his health was starting to fail, and he gradually delegated most of his duties to Frank Tiberi before his death in 1987. Tiberi continued to lead a Woody Herman Orchestra on a part-time basis but it never had the opportunity to record. Fortunately, Herman was well documented throughout all phases of his career, and his major contributions are still greatly appreciated. ~ Scott Yanow, All Music Guide

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