segunda-feira, 31 de maio de 2010

The Royal Philharmonic Orchestra - Plays Abba Classic - Conducted by Louis Clark

  1. Abbature
  2. S.O.S.
  3. Mamma Mia
  4. Eagle
  5. I Have A Dream
  6. Does Your Mother Know
  7. Money Money Money
  8. Knowing Me Knowing You
  9. Gimme Gimme Gimme, Summer Night City
  10. Chiquitita
  11. Finale
Plays Abba

Indelibly linked to its founder, Sir Thomas Beecham, the Royal Philharmonic Orchestra (RPO) is considered one of the four major orchestras based in London. Established in 1946 in connection with the Royal Philharmonic Society, the orchestra's title was directly approved by King George VI. Although it has often had to fight for its survival, the RPO remains one of the busiest ensembles in Great Britain. The orchestra annually offers a set of concert series in three London venues (Royal Festival Hall, Barbican Hall and Croydon's Fairfield Hall), provides music for many films and tours extensively at home and abroad. It is more involved with the pop music industry than many of its peers and the ensemble's Hooked on Classics series of recordings has been a tremendous boon to the group's finances and international visibility. The series sold more than nine million copies world-wide. An appearance in the half-time show of the Orange Bowl football game in Miami, Florida during the mid-1980's brought the orchestra to the attention of millions of viewers. As it is with many of the world's first-ranked ensembles, the RPO relies heavily on its corporate sponsors for its funding. In an attempt to secure its financial future and have more control of its artistic direction, the orchestra began producing and marketing its own recordings under its exclusive RPO label.

With the horrors of World War II behind him, Sir Thomas Beecham was anxious to have an orchestra to direct. When the opportunity to lead the newly formed Philharmonia Orchestra was given to Herbert von Karajan, Beecham decided to assemble his own ensemble. He gathered many of Europe's top musicians, made an agreement with the Royal Philharmonic Society to play an exclusive season of concerts at the Davis Theater in Croydon and the Royal Philharmonic Orchestra was born. The orchestra was almost immediately successful attracting enthusiastic audiences and excellent critical reviews. In 1950, the RPO did its first international tour to the United States playing in forty five cities. Although American critics took issue with the fact that Beecham's programming was very conservative and included no contemporary English compositions, the tour was a huge commercial success and the RPO's future was secured.

During the 1950s, the orchestra continued to raise its already high musical standards, widen its repertoire and seek out lucrative recording contracts even though Beecham appeared less frequently on the podium. He claimed that the tax laws in place in England at the time did not allow him to live comfortably in London but ill health was probably the real reason for his absences.

When Beecham died in 1961, the orchestra sought out German conductor Rudolf Kempe as his successor. Under Kempe's leadership the RPO continued a full schedule of concerts and other projects but signs of trouble began to appear in 1963. In February of that year, it was proposed that the RPO merge with the orchestra of the Royal Opera at Covent Garden but an agreement was never reached. Then the Royal Philharmonic Society decided not to engage the orchestra for its upcoming season and finally the ensemble was excluded from a cooperative agreement with the Royal Festival Hall and the three other major London orchestras (London Philharmonic, London Symphony and the New Philharmonic). With their future hanging in the balance, the RPO players decided to reorganize the orchestra into an independent, self-governing entity run by a Board of Directors drawn primarily from within the membership. Kempe agreed to remain as music director and throughout the turbulent months of transition, the orchestra continued its rigorous performance schedule and even completed a fifty-two concert tour in North America.

More problems arose in 1964 when the orchestra was excluded from appearing at the Royal Festival Hall for another two years and the Royal Philharmonic Society threatened to withdraw the orchestra's "Royal" title. Upon hearing of this, Queen Elizabeth II conferred her blessing on the ensemble as " its own right" which allowed the orchestra to retain its title.

The orchestra's future brightened in the mid-1960s when a report by Lord Goodman recommended that the RPO should be given government subsidies in order that it remain active. With the infusion of annual grants from the London Orchestral Concert Board, the orchestra survived and grew. Unfortunately Kempe, who remained as principal conductor and music director until 1975, was never able to develop a characteristic ensemble sound in the RPO although the standard of musicianship within the group was excellent.

When Antál Doráti succeeded Kempe in 1975 he attempted to bring his characteristic versatility of repertoire to the RPO. He was not entirely successful because of the orchestra's largely conservative attitude toward programming but some strides were made. His successor, Walter Weller, was even less successful in influencing the ensemble and during his tenure, the RPO slipped into a rather lack-luster role in London's musical circles. A series of successful tours and participation in many major international festivals kept the orchestra in the public eye and it enjoyed reasonable popularity with its audiences.

André Previn's arrival on the RPO podium in 1985 shook the orchestra to its core and energized its somewhat pedestrian musical quality. His dramatic resignation in protest of the overburdened schedule of the RPO must keep was also traumatic for the orchestra. Stability was returned to the ensemble when Vladimir Ashkenazy became the group's music director and principal conductor in 1986. Under his tutelage, the orchestra began to recover some of the sensitivity and grace of line that it had during Beecham's tenure. Ashkenazy was also instrumental in the development of the RPO exclusive record label which helped to secure the orchestra's financial and artistic future. After his departure in 1994, Daniele Gatti succeeded Ashkenazy as principal conductor. His youthful energy and expertise in Italian repertoire have given the RPO a new direction for the twenty-first century.

Throughout its rather turbulent history, the Royal Philharmonic Orchestra has been able to retain its place in London's competitive musical circles. With its leanings toward the pop music industry and its extensive recording and touring schedules, the Royal Philharmonic is likely to remain one of the busiest and most popular orchestras in the United Kingdom. ~ Corie Stanton Root, All Music Guide

The most commercially successful pop group of the 1970s, the origins of the Swedish superstars ABBA dated back to 1966, when keyboardist and vocalist Benny Andersson, a onetime member of the popular beat outfit the Hep Stars, first teamed with guitarist and vocalist Bjorn Ulvaeus, the leader of the folk-rock unit the Hootenanny Singers. The two performers began composing songs together and handling session and production work for Polar Music/Union Songs, a publishing company owned by Stig Anderson, himself a prolific songwriter throughout the 1950s and 1960s. At the same time, both Andersson and Ulvaeus worked on projects with their respective girlfriends: Ulvaeus had become involved with vocalist Agnetha Faltskog, a performer with a recent number one Swedish hit, "I Was So in Love," under her belt, while Andersson began seeing Anni-Frid Lyngstad, a one-time jazz singer who rose to fame by winning a national talent contest.

In 1971, Faltskog ventured into theatrical work, accepting the role of Mary Magdalene in a production of Andrew Lloyd Webber's Jesus Christ Superstar; her cover of the musical's "Don't Know How to Love Him" became a significant hit. The following year, the duo of Andersson and Ulvaeus scored a massive international hit with "People Need Love," which featured Faltskog and Lyngstad on backing vocals. The record's success earned them an invitation to enter the Swedish leg of the 1973 Eurovision song contest, where, under the unwieldy name of Bjorn, Benny, Agnetha & Frida, they submitted "Ring Ring," which proved extremely popular with audiences but placed only third in the judges' ballots.

The next year, rechristened ABBA (a suggestion from Stig Anderson and an acronym of the members' first names), the quartet submitted the single "Waterloo," and became the first Swedish act to win the Eurovision competition. The record proved to be the first of many international hits, although the group hit a slump after their initial success as subsequent singles failed to chart. In 1975, however, ABBA issued "S.O.S.," a smash not only in America and Britain but also in non-English speaking countries such as Spain, Germany and the Benelux nations, where the group's success was fairly unprecedented. A string of hits followed, including "Mamma Mia," "Fernando," and "Dancing Queen" (ABBA's sole U.S. chart-topper), further honing their lush, buoyant sound; by the spring of 1976, they were already in position to issue their first Greatest Hits collection.

ABBA's popularity continued in 1977, when both "Knowing Me, Knowing You" and "The Name of the Game" dominated airwaves. The group also starred in the feature film ABBA -- The Movie, which was released in 1978. That year Andersson and Lyngstad married, as had Ulvaeus and Faltskog in 1971, although the latter couple separated a few months later; in fact, romantic suffering was the subject of many songs on the quartet's next LP, 1979's Voulez-Vous. Shortly after the release of 1980s Super Trouper, Andersson and Lyngstad divorced as well, further straining the group dynamic; The Visitors, issued the following year, was the final LP of new ABBA material, and the foursome officially disbanded after the December 1982 release of their single "Under Attack."

Although all of the group's members soon embarked on new projects -- both Lyngstad and Faltskog issued solo LPs, while Andersson and Ulvaeus collaborated with Tim Rice on the musical Chess -- none proved as successful as the group's earlier work, largely because throughout much of the world, especially Europe and Australia, the ABBA phenomenon never went away. Repackaged hits compilations and live collections continued hitting the charts long after the group's demise, and new artists regularly pointed to the quartet's inspiration: while the British dance duo Erasure released a covers collection, ABBA-esque, an Australian group called Bjorn Again found success as ABBA impersonators. In 1993, "Dancing Queen" became a staple of U2's "Zoo TV" tour -- Andersson and Ulvaeus even joined the Irish superstars on-stage in Stockholm -- while the 1995 feature Muriel's Wedding, which won acclaim for its depiction of a lonely Australian girl who seeks refuge in ABBA's music, helped bring the group's work to the attention of a new generation of moviegoers and music fans. ~ Jason Ankeny, All Music Guide

domingo, 30 de maio de 2010

London Symphony Orchestra & London Pop Choir - Rock' n' Symphony - The Best of Abba

  1. Knowing Me, Knowing You
  2. Waterloo
  3. Super Trouper
  4. One of Us
  5. S.O.S.
  6. Gimme! Gimme! Gimme!
  7. I Have A Dream
  8. Fernando
  9. Dancing Queen
  10. The Winner Takes It All
  11. Lay all Your Love on Me
  12. Chiquitita
  13. Andante
  14. The Way Old Friends Do
Best of Abba

The London Symphony Orchestra (LSO) is a major orchestra of the United Kingdom, as well as one of the best-known orchestras in the world. Since 1982, the LSO has been based in London's Barbican Centre.

The LSO was founded in 1904 as an independent, self governing organisation, the first such orchestra in the UK. It played its first concert on 9 June of that year, with Hans Richter conducting. He remained principal conductor until 1911, when Edward Elgar took over for a year, leading six concerts as principal conductor.

The LSO became the first British orchestra to play overseas when it went to Paris in 1906, and the first to play in the United States, in 1912. The LSO was due to sail on the RMS  Titanic for a concert in New York in April 1912 but fortunately had to change the booking at the last minute. Another kind of narrow escape occurred during the Great War; despite in its early years having attracted the world's greatest conductors, after 1914 it was subject to financial adversity and in 1917 suspended giving concerts altogether. When peace resumed, many of the former players were unavailable and so the training of a new team fell to the young Albert Coates; as a revitalised body, they gave their first concert in October 1919.

In 1956, the orchestra appeared in Alfred Hitchcock's film The Man Who Knew Too Much, conducted by composer Bernard Herrmann in the climactic scene, filmed in Royal Albert Hall.

In 1966, the London Symphony Chorus (LSC) was formed to complement the work of the LSO. With more than two hundred amateur singers, the LSC maintains a close association with the LSO; however it has developed an independent life, which allows it to partner other leading orchestras.

In 1973 it was the first British orchestra to be invited to take part in the Salzburg Festival. It continues to make tours around the world.

Recently, its principal conductors have included Pierre Monteux (1961–64), István Kertész (1965–68), André Previn (1968–79) and Claudio Abbado (1979–88). From 1988-1995, the American Michael Tilson Thomas took over, and in 1995, became principal guest conductor. Sir Colin Davis served as the LSO's Principal Conductor from 1995-2006, and in 2007 took the post of President of the orchestra. On 1 January 2007, Valery Gergiev became the LSO's Principal Conductor. Previn holds the title of Conductor Laureate. In 2006, Daniel Harding became the co-principal guest conductor alongside Tilson Thomas.

The LSO has long been considered the most extroverted of the London orchestras. For most of its life it refused to allow women to become members, ostensibly on the grounds that women would affect the sound of the orchestra (there has been a similar controversy at the Vienna Philharmonic). One of the first women to join the orchestra was the oboist Evelyn Rothwell. There is an air of youthful high spirits to much of its music-making that is shown off in performances of such composers as Berlioz and Prokofiev. The LSO has often had internationally-known players as wind soloists, including such artists as James Galway (flute), Gervase de Peyer (clarinet), Roger Lord (oboe), Osian Ellis (harp), John Georgiadis (violin) and Barry Tuckwell (horn). Like most ensembles, the orchestra has a great ability to vary its sound, producing very different tone colours under such diverse conductors as Leopold Stokowski (with whom it made a series of memorable recordings), Adrian Boult, Jascha Horenstein, Georg Solti, André Previn, George Szell, Claudio Abbado, Leonard Bernstein, John Barbirolli, and Karl Böhm, who developed a close relationship with the orchestra late in his life. Böhm and Bernstein each held the title of LSO President in their later years.

During its history, the LSO has commissioned new works from many major composers. The orchestra has had a close working relationship with giants of 20th Century music as diverse as Ralph Vaughan Williams, Pierre Boulez and John Adams (composer). In recent years the UBS Soundscapes: Pioneers commissioning scheme has initiated a number of impressive new works for orchestra by young British composers including Luke Bedford, Anna Meredith, Edward Rushton, Emily Hall, Paul Newland, Tansy Davies and Matthew King (composer).

Clive Gillinson, a former cellist with the orchestra, served as the LSO's Managing Director from 1984 to 2005, and is widely credited with bringing great stability to the LSO's organisation after severe fiscal troubles. Since 2005, Kathryn McDowell has been Managing Director.


The LSO has made recordings since the early days of recording, including some acoustic performances with Arthur Nikisch. It recorded extensively for HMV and EMI for many years. In the early 1960s, the veteran French conductor Pierre Monteux made a series of stereophonic recordings with the orchestra for Philips Records, many of which been reissued on CD.

The LSO is also famous for recording many motion picture film scores down the years. These include, under the baton of such noted composers as John Williams, Alan Silvestri, and James Horner, all the Star Wars films (with Maurice Murphy playing the main trumpet theme in all of them), Who Framed Roger Rabbit, The Queen, Raiders of the Lost Ark,The Land Before Time, Braveheart, Harry Potter and the Chamber of Secrets, Harry Potter and the Goblet of Fire, Eragon and Superman, as well as the innovative IllumiNations: Reflections of Earth at the American theme park, Epcot. It has also performed on many pop recordings, including The Beatles' Sgt. Pepper's Lonely Hearts Club Band, Neil Young's Harvest, Grace Slick's Manhole, and songs from the Thriller and Bad albums by Michael Jackson. On television the LSO has featured on, among others, André Previn's Music Night and as a small cameo role in The Simpsons. The LSO also made recordings for popular anime shows composed and conducted by Toshihiko Sahashi. More recently, the orchestra was used in the video game Lara Croft Tomb Raider: The Angel of Darkness, providing much of the background music in the game.

LSO has recorded a series of "Classic Rock albums" with arrangements of some rock/pop classics.

Since 2000, the LSO has been issuing commercial CD recordings on its own label, LSO Live, which was established under Gillinson's watch.

The LSO also made a very popular rendition of Samuel Barber's Adagio for Strings, which was one of the most popular pieces on Apple's iTunes.

The LSO was also featured on Tempo's latest album "Free Tempo".

Principal Conductors

    * 1904-1911 Hans Richter
    * 1911-1912 Edward Elgar
    * 1912-1914 Arthur Nikisch
    * 1915-1916 Thomas Beecham
    * 1919-1922 Albert Coates

    * 1930-1931 Willem Mengelberg
    * 1932-1935 Hamilton Harty
    * 1950-1954 Josef Krips
    * 1961-1964 Pierre Monteux
    * 1965-1968 István Kertész

    * 1968-1979 André Previn
    * 1979-1988 Claudio Abbado
    * 1987-1995 Michael Tilson Thomas
    * 1995-2006 Colin Davis
    * 2007-present Valery Gergiev

The LSO had no principal conductor between 1922 and 1930.


sábado, 29 de maio de 2010

Maurice Larcange with the Claude Martine Orchestra & Chorus - Paris for Lovers

  1. At Last! At Last!
  2. The Windmills of Your Mind
  3. Milord
  4. L'Absent
  5. The Three Bells
  6. Lindbergh
  7. In Paris You'll Find Love
  8. Once Upon A Summertime
  9. My Way (Comme D'Habitude)
  10. If You Go Away
  11. If I Only Had Time
  12. Paris for Lovers
Paris for Lovers

sexta-feira, 28 de maio de 2010

Paul Mauriat et Son Grand Orchestre - Volume 9

  1. Aquarius
  2. Un Jour Un Enfant
  3. Goodbye
  4. Windmills of Your Mind
  5. L'orage (La Pioggia)
  6. Sayonara
  7. O Sonho
  8. Get Back
  9. Oh Happy Day
  10. Le Meteque
  11. Isadora
  12. Vole Vole Farandole (Hello Love)
Paul Mauriat Nº 9

quinta-feira, 27 de maio de 2010

Jack Lemmon - A Twist of Lemmon - Music arranged and conducted by Marion Evans

  1. The Kiss That Rocked the World
  2. What Is There to Say
  3. With All My Love
  4. Bidin' My Time
  5. On the Sunny Side of the Street
  6. I Wished on the Moon
  7. You'd Be So Nice to Come Home to
  8. Imagination
  9. There's No Such Thing (As the Next Best Thing to Love)
  10. Lemmon Flavored Blues
  11. Fine and Dandy
  12. Let's Fall in Love
A Twist of Lemmon

Lemmon developed a love for music around the same time he began acting, but his success in the latter forced the future Oscar winner to abandon his career as a professional musician. In the 1950s, after a string of Broadway musical hits, Jack Lemmon was invited to record a full-length album. The resulting Twist of Lemmon was initially going to be an album of piano songs, but as production began, Lemmon and producer Jack Sherman decided to record six instrumentals and six vocal tracks. Jack Lemmon chose songs for the record while on the set of It Should Happen to You with Judy Holiday. Eventually the actor ended up choosing only four instrumentals to go with eight vocal songs. The resulting LP is a much more commercial product than was first imagined. Though Lemmon's voice is solid, his piano playing was his strength. The 12 standards on Twist of Lemmon include Yip Harburg's "What Is There to Say," the Gershwins' "Bidin' My Time," Cole Porter's "You'd Be So Nice to Come Home To," and Harold Arlen's "Let's Fall in Love." Of note are "With All My Lov," which is a Jack Lemmon original, and "Lemmon Flavored Blues," written by arranger Marlon Evans. Twist of Lemmon is a serious album that is musically solid but of more interest as a window into the creativity of one of Hollywood's greats. ~ JT Griffith, All Music Guide

Best-known as an Academy Award-winning actor, Jack Lemmon also issued several recordings over the years. Born John Uhler Lemmon III on February 8, 1925, in Newton, MA, it wasn't until he attended Harvard University that Lemmon began taking acting seriously and joined the school's drama club. After serving in the Navy, Lemmon worked in a beer hall playing piano before eventually landing spots on Broadway, radio, TV, and by the mid-'50s, movies (alternating between comedies and dramas). It didn't take long for the public to recognize Lemmon's acting talents; he won an Academy Award in 1955 for Best Supporting Actor for his work in the movie Mister Roberts and earned further nominations as Best Leading Actor in the late '50s/early '60s (1959's Some Like It Hot, 1960's The Apartment, 1962's Days of Wine and Roses). It was also around this time that Lemmon began issuing albums, including such titles as Twist of Lemmon and Sings and Plays Music From Some Like It Hot in the late '50s, as well as Piano Selections From Irma La Douce and E.B. White's Here Is New York in the early '60s.

In 1968, Lemmon gave perhaps his best-known performance in a movie as the neurotic neatnic Felix Unger in The Odd Couple, while further Academy Award nominations came in (1979's The China Syndrome, 1980's Tribute, and 1982's Missing), in addition to winning a Best Leading Actor Academy Award for 1972's Save the Tiger and a pair of Best Leading Actor Cannes Film Festival Awards for The China Syndrome and Missing. The early '90s saw Lemmon issue his first musical albums in nearly two decades, with 1990's Piano & Vocals and 1991's Peter and the Wolf (the latter of which had Lemmon team up with the Prague Festival Orchestra). Lemmon continued to act regularly until the late '90s when he was diagnosed with cancer; he eventually succumbed to the illness on June 27, 2001, in Los Angeles, CA, at the age of 76. A 2-in-1 CD that included both Twist of Lemmon and Sings and Plays Music From Some Like It Hot was issued a week after his passing. ~ Greg Prato, All Music Guide

terça-feira, 25 de maio de 2010

Percy Faith and His Orchestra - Joy

  1. Joy
  2. Brian's Song
  3. Love Theme from "Mary, Queen of Scots" (This Way Home)
  4. Theme from "Shaft"
  5. Without You
  6. An Old Fashioned Love Song
  7. Diamonds Are Forever
  8. Theme from "The Summer of '42" (The Summer Knows)
  9. Gypsies, Tramps and Thieves
  10. Sunrise, Sunset / Fiddler on the Roof
  11. Hurting Each Other

segunda-feira, 24 de maio de 2010

Richard Clayderman - Love Themes

  1. Titanic Symphony
  2. Un-Break My Heart
  3. Con Te Partiró (Time to Say Goodbye)
  4. Candle in the Wind
  5. Angels
  6. Tell Him
  7. How Do I Live
  8. Something About the Way You Look Tonight
  9. Make It with You
  10. Savoir Aimer (Learn How to Love)
  11. Valse Nº 2 (Waltz nº 2)
  12. Lucie
  13. Belle (Beautiful)
  14. Je T'Aime
Love Themes

With his lush, sophisticated, instrumental, approach to pop music, Richard Clayderman (born: Phillipe Pages) is, according to The Guinness Book of World Records, "the most successful pianist in the world." Clayderman's albums routinely sell millions of copies and his concerts are quickly sold out. In a review of his 1985 Carnegie Hall concert, Variety wrote, "(Clayderman's) main appeal lies in his youth and boyish good looks...coupled with his gentlemanly charm and his thick French accent, they promise to rope in the romantically inclined middle-aged Yank ladies who cotton to this ilk of soothing entertainment." Nancy Reagan referred to Clayderman as "the prince of romance." Instructed in classical piano by his father, Clayderman enrolled in the Paris Conservatory of Music at the age of twelve. Four years later, he placed first in a piano competition at the school. Despite his classical background, Clayderman opted for popular music when he launched his professional career. A tour as opening act for French rock musician Johnny Hollyday introduced him to an international following. Clayderman's debut album, Ballade Pour Adeline, recorded at the urging of producers and composers Oliver Toussaint and Paul De Senneville in 1977, sold more than twenty million copies and was distributed in 38 countries. Clayderman, who took his stage name from his Swedish grandmother, has continued to tour throughout the world to enthusiastic audiences. A live concert, broadcast on Chinese television in 1987 attracted more than 800 million viewers. ~ Craig Harris, All Music Guide

sábado, 22 de maio de 2010

Dinah Washington - The Jazz Masters - 100 anos de Swing

  1. Bye Bye Blues
  2. Crazy He Calls Me
  3. No More
  4. Blue Skies
  5. A Foggy Day
  6. I Let A Song Out of My Heart
  7. Darn That Dream
  8. Our Love Is Here to Stay
  9. Love for Sale
  10. (No, No, No) You Can't Love Two
  11. Come Rain or Come Shine
  12. There Is No Greater Love
  13. Raindrops
  14. Manhattan
  15. What A Difference A Day Makes
  16. Mad About the Boy
(born Aug. 29, 1924, Tuscaloosa, Ala., U.S. — died Dec. 14, 1963, Detroit, Mich.) U.S. singer. Washington sang in church choirs as a child. She joined Lionel Hampton's band in 1943, embarking on a solo career in 1946. Her recordings encompassed a wide variety of idioms including rhythm and blues, jazz, and country music; her "What a Difference a Day Makes" (1959) was a pop hit. Known as "Queen of the Blues," she combined precise diction and intonation with an alternately gentle and brassy vocal timbre, and her voice was remarkable for its clarity and projection. She had remarkable vocal control. Even after she crossed over to the popular (pop) music market, in which she had her greatest commercial success, Washington retained many of her earlier fans because of her passionate, supple style.

Dinah Washington was at once one of the most beloved and controversial singers of the mid-20th century -- beloved to her fans, devotees, and fellow singers; controversial to critics who still accuse her of selling out her art to commerce and bad taste. Her principal sin, apparently, was to cultivate a distinctive vocal style that was at home in all kinds of music, be it R&B, blues, jazz, middle of the road pop -- and she probably would have made a fine gospel or country singer had she the time. Hers was a gritty, salty, high-pitched voice, marked by absolute clarity of diction and clipped, bluesy phrasing. Washington's personal life was turbulent, with seven marriages behind her, and her interpretations showed it, for she displayed a tough, totally unsentimental, yet still gripping hold on the universal subject of lost love. She has had a huge influence on R&B and jazz singers who have followed in her wake, notably Nancy Wilson, Esther Phillips, and Diane Schuur, and her music is abundantly available nowadays via the huge seven-volume series The Complete Dinah Washington on Mercury.

Born Ruth Lee Jones, she moved to Chicago at age three and was raised in a world of gospel, playing the piano and directing her church choir. At 15, after winning an amateur contest at the Regal Theatre, she began performing in nightclubs as a pianist and singer, opening at the Garrick Bar in 1942. Talent manager Joe Glaser heard her there and recommended her to Lionel Hampton, who asked her to join his band. Hampton says that it was he who gave Ruth Jones the name Dinah Washington, although other sources claim it was Glaser or the manager of the Garrick Bar. In any case, she stayed with Hampton from 1943 to 1946 and made her recording debut for Keynote at the end of 1943 in a blues session organized by Leonard Feather with a sextet drawn from the Hampton band. With Feather's "Evil Gal Blues" as her first hit, the records took off, and by the time she left Hampton to go solo, Washington was already an R&B headliner. Signing with the young Mercury label, Washington produced an enviable string of Top Ten hits on the R&B charts from 1948 to 1955, singing blues, standards, novelties, pop covers, even Hank Williams' "Cold, Cold Heart." She also recorded many straight jazz sessions with big bands and small combos, most memorably with Clifford Brown on Dinah Jams but also with Cannonball Adderley, Clark Terry, Ben Webster, Wynton Kelly, and the young Joe Zawinul (who was her regular accompanist for a couple of years).

In 1959, Washington made a sudden breakthrough into the mainstream pop market with "What a Diff'rence a Day Makes," a revival of a Dorsey Brothers hit set to a Latin American bolero tune. For the rest of her career, she would concentrate on singing ballads backed by lush orchestrations for Mercury and Roulette, a formula similar to that of another R&B-based singer at that time, Ray Charles, and one that drew plenty of fire from critics even though her basic vocal approach had not changed one iota. Although her later records could be as banal as any easy listening dross of the period, there are gems to be found, like Billie Holiday's "Don't Explain," which has a beautiful, bluesy Ernie Wilkins chart conducted by Quincy Jones. Struggling with a weight problem, Washington died of an accidental overdose of diet pills mixed with alcohol at the tragically early age of 39, still in peak voice, still singing the blues in an L.A. club only two weeks before the end. ~ Richard S. Ginell, All Music Guide

sexta-feira, 21 de maio de 2010

Frank Chacksfield & His Orchestra - Sounds of Romance - Volume 2

  1. Handy Man
  2. Looks Like We Made It
  3. It Was Almost Like A Song
  4. Baby I'm Yours
  5. Nobody Does It Better
  6. Sometimes When We Touch
  7. The Air That I Breathe
  8. Lover Come Back to Me
  9. Three Times A Lady
  10. Walking in Rhythm
  11. Things We Do for Love
  12. Bluer Than Blue
  13. Tonight You Belong to Me
  14. Torn Between Two Lovers
  15. Somewhere in the Night
  16. The Night Has 1000 Eyes
  17. Higher and Higher
  18. Don't Worry Baby
Sounds of Romance 2

quinta-feira, 20 de maio de 2010

Frank Chacksfield & His Orchestra - Sounds of Romance - Volume 1

  1. Little Things Mean A Lot
  2. Can't Smile Without You
  3. Feelings
  4. Chances Are
  5. After the Lovin'
  6. Blue Bayou
  7. Don't It Make My Brown Eyes Blue
  8. There I've Said It Again
  9. I Just Fall in Love Again
  10. Dancing Queen
  11. Blueberry Hill
  12. Talking in Your Sleep
  13. You'll Never Find Another Love Like Mine
  14. Just Walkin' in the Rain
  15. Hopelessly Devoted to You
  16. Afternoon Delight
  17. How Deep Is Your Love
  18. Before the Next Teardrop Falls
Sounds of Romance 1

Francis Charles Chacksfield was born in Battle, East Sussex, and as a child learned to play piano and organ. He appeared at Hastings Music Festivals by the time he was 14, and then became deputy church organist at Salehurst. After working for a short period in a solicitor's office he decided on a career in music, and by the late 1930s led a small band at Tonbridge in Kent. At the beginning of World War II he joined the Royal Corps of Signals, and, following a radio broadcast as a pianist, was posted to ENSA at Salisbury where he became the arranger for Stars In Battledress, an armed forces entertainment troupe, and shared an office with comedian Charlie Chester.

After the war, he worked with Chester and on BBC Radio as an arranger and conductor. He also worked as musical director for both Henry Hall and Geraldo, and began recording under his own name in 1951 as "Frank Chacksfield's Tunesmiths". In early 1953 he had his first top ten hit, "Little Red Monkey", on the Parlophone label. This was a novelty recording featuring Jack Jordan on the clavioline, and reportedly the first record featuring an electronic instrument to feature on the UK pop chart. He signed a recording contract with Decca Records in 1953, and formed a 40-piece orchestra with a large string section, the "Singing Strings". His first record release for Decca, Charlie Chaplin's themes for his film Limelight, won him a Gold Disc in the USA, and in Britain, where it reached #2 in the charts, won him the New Musical Express award as Record of the Year. His next 78 single, "Ebb Tide", became the first British instrumental recording to reach #1 in some American charts, providing a second Gold Disc, and he was voted the most promising new orchestra of the year in the US.

He became one of Britain's most well known orchestra leaders internationally, and is estimated to have sold more than 20 million albums worldwide. His material was "mood music", similar to that of Mantovani, including ballads, waltzes, and movie themes. In 1954 he began presenting a series on BBC TV, which continued occasionally until the early 1960s. Chacksfield was responsible for the musical arrangement of the first UK entry into the Eurovision Song Contest 1957; "All" by Patricia Bredin. He continued to write music, release singles and albums through the 1950s and 1960s, and appeared regularly on BBC radio.

He continued to record occasionally until the 1990s, from the 1970s primarily on the Phase 4 label. He also developed business interests in publishing and recorded for Starborne Productions, a company supplying "canned music" for use by easy listening radio stations and others. Many of these recordings were made commercially available in 2007. His last album was Thanks for the Memories (Academy Award Winners 1934-55), released in 1991. Chacksfield died in Kent in 1995, after having suffered for several years from Parkinson's Disease.

His song, "Après Ski", was featured in the 2006 video game Saint's Row for the Xbox 360.


quarta-feira, 19 de maio de 2010

Francisco Garcia - 15 Romantic Guitar Evergreens

  1. Again
  2. Blue Moon
  3. Mona Lisa
  4. Symphony
  5. The Things We Did Last
  6. It Might As Well Be Spring
  7. Love in the Sand
  8. Guilty
  9. Now Is the Hour
  10. Misty Nights
  11. Strangers in the Night
  12. My Eyes Are for You
  13. Our Romance
  14. Summertime
  15. Jacky's Dreams
Romantic Guitar

terça-feira, 18 de maio de 2010

Leroy Holmes - Sophisticated Strings

  1. There's A Small Hotel
  2. What Is This Thing Called Love
  3. At Last
  4. Powerhouse
  5. The Hour of Parting
  6. The Moon Was Yellow
  7. Smoke Gets in Your Eyes
  8. Mood Indigo
  9. Humoresque
  10. Blue Moon
  11. Sophisticated Lady
  12. Tico Tico
Sophisticated Strings
LeRoy Holmes (born Alvin Holmes September 22, 1913, Pittsburgh, Pennsylvania – July 27, 1986, Los Angeles, California) was an American songwriter, composer, arranger and conductor.

Holmes studied music at Northwestern University in Evanston, Illinois and the Juilliard School in New York, before working with a number of bandleaders during the 1930s and early 40s. These included Ernst Toch, Vincent Lopez, and Harry James

After serving as a lieutenant in the US Navy during the Second World War, he moved to Hollywood, where he was hired by MGM Music Studios as a house arranger and conductor, before later moving to United Artists. During his time with MGM, he backed numerous vocalists, including Judy Garland, and in 1954 made what is possibly his best known recording, a version of the theme to the film The High and the Mighty. The song is known for its distinctive accompanying whistling, which was provided by Fred Lowery. Holmes provided the orchestration for Tommy Edwards epic 1958 hit "It's All In The Game", and tried rock and R&B with his backing to the Impalas "Sorry (I Ran All The Way Home)". Holmes also wrote the theme song to the television series International Detective.

He moved to United Artists Records in the early 1960s, where he contributed to many compilations of movie themes, released albums under his own name and backed a succession of singers, notably Gloria Lynne and Shirley Bassey. In addition, he produced albums for a number of United Artists acts, including the Briarwood Singers. He also worked on the music for the 1977 film The Chicken Chronicles (see 1977 in film).


segunda-feira, 17 de maio de 2010

Billy Vaughn - La Isla Bonita

  1. La Isla Bonita
  2. Yesterday
  3. When
  4. Always on My Mind
  5. Cherish
  6. Knowing Me, Knowing You
  7. La Paloma
  8. Wheels
  9. La Bamba
  10. Sail Along Silvery Moon
  11. Aloha Oe
  12. Diana
  13. Blue Hawaii
  14. Morgen
  15. Melody of Love
  16. Say You, Say Me
La Isla Bonita

Billy Vaughn was one of the most popular orchestra leaders and pop music arrangers of the '50s and early '60s. In fact, he had more pop hits than any other orchestra leader during the rock & roll era. Vaughn was also the musical director for many of the hitmakers on Dot Records, including Pat Boone, the Fontane Sisters, and Gale Storm. As a pop music arranger, his most distinctive feature was his clean, nonoffensive mainstream adaptations of rock & roll and R&B hits. Vaughn was also a recording artist, and he cut a number of albums of easy listening, instrumental music that were very popular throughout the '60s.

Vaughn began his professional music career in 1952, forming the vocal quartet the Hilltoppers with Don McGuire, Jimmy Sacca, and Seymour Speigelman. From 1952 to 1957, the Hilltoppers had numerous hit singles, beginning with Vaughn's song "Trying." He left the group in 1955 to join Dot Records as a musical director.

Vaughn was responsible for most of Dot's biggest hits of the '50s as he rearranged popular rock & roll and R&B songs for white, mainstream groups. His first success was with the Fontane Sisters, who sang with his orchestra on all their singles, including their 1954 breakthrough hit "Hearts of Stone." However, Dot's biggest success was Pat Boone, who had a series of hits with Vaughn's cleaned-up arrangements of rock & roll songs.

At the same time he was leading the vocal pop division of Dot, Billy Vaughn was recording his own instrumental records, which frequently were also covers of R&B and country songs. Beginning with 1954's "Melody of Love," Vaughn had a string of easy listening U.S. hit singles that ran for over a decade. He also recorded numerous hit albums, with 36 of his records entering the U.S. album charts between 1958 and 1970.

Though he was the most successful orchestra leader of the rock & roll era, he wasn't able to sustain an audience in the late '60s. Vaughn released his last album in 1970 and quietly retired. ~ Stephen Thomas Erlewine, All Music Guide.

domingo, 16 de maio de 2010

The Strings of Paris - Romantic Guitar Melodies - Featuring 'Django' Williams - Conducted by Jean Paul de la Tour

  1. Hey Jude
  2. La Più Bella Del Mondo
  3. Mona Lisa
  4. Misty
  5. Violetta
  6. Michelle
  7. Mama Don't Know
  8. My Way
  9. Blue Moon
  10. Cuando Caliente El Sol
  11. Smoke Gets in Your Eyes
  12. Arumbai
  13. Bewitched
  14. More
  15. September Morn'
  16. Yesterday
Romantic Guitar Melodies

sábado, 15 de maio de 2010

Frank Sinatra - Ao Vivo - In Monte Carlo

  1. All the Way
  2. I've Got You Under My Skin
  3. Moonlight in Vermont
  4. The Lady Is A Tramp
  5. I Get A Kick Out of You
  6. When Your Love Has Gone
  7. On the Road to Mandalay
  8. April in Paris
  9. Bewitched, Bothered and Bewildered
  10. Monique
  11. Where or When
  12. You Make Me Feel so Young
  13. Come Fly with Me

sexta-feira, 14 de maio de 2010

Percy Faith and His Orchestra - A Summer Place - Volume 3

  1. Theme from "A Summer Place"
  2. Since I Fell for You
  3. Come Saturday Morning
  4. The Windmills of Your Mind
  5. For the Good Times
  6. Blowin' in the Wind
  7. I'm Gonna Go Fishin'
  8. Don't Let Me Be Lonely Tonight
  9. Love Theme from "Romeo and Juliet"
  10. Mrs. Robinson
  11. Here, There and Everywhere
  12. You Are the Sunshine of My Life
Summer Place - Vol. 3

quinta-feira, 13 de maio de 2010

Percy Faith and His Orchestra - A Summer Place - Volume 2

  1. Aquarius
  2. Leaving on A Jet Plane
  3. Do I Hear A Waltz?
  4. Never My Love
  5. Fifth Movement (Tubular Bells)
  6. Cherry, Cherry
  7. Moon River
  8. I Need You
  9. Stranger on the Shore
  10. He Ain't Heavy, He's My Brother
  11. Rose Garden
  12. The Way We Were
Summer Place - Vol. 2

quarta-feira, 12 de maio de 2010

Percy Faith and His Orchestra - A Summer Place - Volume 1

  1. Raindrops Keep Fallin' on My Head
  2. Lady Sings the Blues
  3. Comes Once in A Lifetime
  4. Make It Easy on Yourself
  5. Funny Girl
  6. Feelings
  7. Can't Get Used to Losing You
  8. How Can I Be Sure
  9. Annie's Song
  10. Superstar
  11. Spanish Harlem
  12. Never Can Say Goodbye
Summer Place - Vol. 1

terça-feira, 11 de maio de 2010

Nelson Riddle - A Touch of Class

  1. Let's Face the Music and Dance
  2. Lisbon Antigua
  3. Port au Prince
  4. Theme from "The Proud Ones"
  5. Route 66 Theme
  6. Younger Than Springtime
  7. I'll Get By (As Long as I Have You)
  8. The More I See You
  9. You and the Night and the Music
  10. For All We Know
  11. September in the Rain
  12. C'est Magnifique
  13. My Baby Just Cares for Me
  14. I Get Along Without You Very Well
  15. Magic Moments
  16. I Love You Paris
A Touch Of Class

Nelson Riddle was quite possibly the greatest arranger in the history of American popular music. Over the course of his long and distinguished career, he was also a popular soundtrack composer, a conductor, a trombonist, and an occasional hitmaker in his own right. He worked with many of the major pop vocalists of his day, but it was his immortal work with Frank Sinatra, particularly on the singer's justly revered Capitol concept albums, that cemented Riddle's enduring legacy. Riddle was a master of mood and subtlety, and an expert at drawing out a song's emotional subtext. He was highly versatile in terms of style, mood, and tempo, and packed his charts full of rhythmic and melodic variations and rich tonal colors that blended seamlessly behind the lead vocal line. He often wrote specifically for individual vocalists, keeping their strengths and limitations in mind and pushing them to deliver emotionally resonant performances. As such, Riddle was perfectly suited to the task of framing vocal interpreters, as opposed to just singers; he was most in sync with the more nuanced and artistically ambitious vocalists, like Sinatra. Riddle knew how to lay back and bring certain lyrics or vocal subtleties to the forefront, and how to add countermelodies that emphasized other lyrics, or made important transitions. He could draw the listener in with catchy embellishments, challenge them with adventurous harmonies, and build to climaxes that faded into surprisingly restrained endings. In short, Riddle was everything a top-notch singer could ask for.

Nelson Smock Riddle was born June 1, 1921, in Oradell, NJ. His father was an amateur musician who performed in a local band, and Riddle learned classical piano as a child, later switching to trombone at age 14. Debussy and Ravel were favorites early on, though he also listened to pop music and big-band swing. In 1940, he joined Jerry Wald's dance orchestra as trombonist and arranger; the following year, he moved on to Charlie Spivak's band, leaving to join the merchant marine in 1943. Exiting the service, he spent 1944-1945 as a trombonist with the Tommy Dorsey Orchestra, also writing a couple of arrangements ("Laura," "I Should Care"). In 1946, he returned to the New York area, where he arranged for big bands like the Elgart Brothers and Elliot Lawrence. By year's end, however, he had decided to relocate to Los Angeles, where he landed a job as an arranger for Bob Crosby. From there he moved on to become a staff arranger at NBC Radio in 1947, also composing background music for dramatic programs, and continued to study arranging and conducting with Mario Castelnuovo-Tedesco and Victor Young.

Riddle caught his first big break when Les Baxter recruited him to ghostwrite a few arrangements for Nat King Cole. One of Riddle's efforts, "Mona Lisa," became Cole's biggest hit ever in 1950 (though it was credited to Baxter). "Too Young" was another huge success in 1951, and Cole hired Riddle as his primary arranger; that relationship would endure for over a decade and produce classics like "Unforgettable." In 1952, Riddle wrote an arrangement of "The Blacksmith Blues" for Ella Mae Morse that turned even more heads at Capitol; soon, the label hired him on as an in-house arranger.

When Frank Sinatra signed with Capitol in 1953, the label encouraged him to work with the up-and-coming Riddle; Sinatra was reluctant, initially wanting to remain loyal to his chief Columbia arranger, Axel Stordahl. He soon recognized the freshness of Riddle's approach, however, and eventually came to regard Riddle as his most sympathetic collaborator. The first song they cut together was "I've Got the World on a String," and as Sinatra moved into the LP format, Riddle became a hugely important collaborator. Sinatra wanted to record conceptually unified albums that created consistent moods, and Riddle's arrangements had to draw out the emotional subtext of the material Sinatra chose. Riddle's work was alternately romantic (the 10" LPs Songs for Young Lovers and Swing Easy), desolate and intimate (In the Wee Small Hours, Only the Lonely), or confident and hard-swinging (Songs for Swingin' Lovers!, A Swingin' Affair!). The results were some of the finest and most celebrated albums in the history of popular music.

Capitol signed Riddle as an artist in his own right during the early '50s; leading his own orchestra, he recorded a series of albums (upward of ten) geared for the easy listening audience. In 1956, he scored a breakout hit single with "Lisbon Antigua," an instrumental of European origin that climbed all the way to number one on the pop charts. The follow-up "Port au Prince" made the Top 20, as did two albums, 1957's Hey...Let Yourself Go! and 1958's C'mon...Get Happy!. Plus, his 1958 composition "Cross Country Suite" won him his first Grammy. As the '50s wore on, Riddle got increasingly involved in the motion picture industry, thanks in part to Sinatra; he worked on the scores for the Sinatra films Johnny Concho (1956), Pal Joey (1957), A Hole in the Head (1959), and Come Blow Your Horn (1963), plus the Rat Pack vehicles Ocean's Eleven (1960) and Robin and the Seven Hoods (1964). Branching out into other film projects, he worked on the W.C. Handy biopic St. Louis Blues (1958) and Stanley Kubrick's Lolita, and earning Oscar nominations for his scores for Li'l Abner (1959) and the Cole Porter musical Can-Can (1960). He also served as the musical director on variety shows starring Sinatra, Nat King Cole, and Rosemary Clooney.

In addition to Riddle's 1950s associations with Sinatra and Cole, he wrote arrangements for -- among others -- Betty Hutton, Jimmy Wakely, Peggy Lee, Dinah Shore, and Judy Garland, the latter of whom turned in two of her finest interpretive albums in 1956's Judy and 1958's Judy in Love under Riddle's guidance. At the end of the decade, he began a fruitful relationship with Ella Fitzgerald, cutting two sessions with his orchestra backing her up (Ella Swings Brightly With Nelson and Ella Swings Gently With Nelson) and contributing extensively to her mammoth Songbooks series, particularly the Gershwin, Kern, and Mercer volumes. Over the course of the '60s, Riddle went on to work with the likes of Rosemary Clooney (1960's Rosie Solves the Swingin' Riddle), Dean Martin, Sammy Davis, Jr., Al Martino, Johnny Mathis (1961's I'll Buy You a Star), Shirley Bassey (1962's Let's Face the Music), Billy Eckstine, Jack Jones, Eddie Fisher, Keely Smith, and many, many others. His last full album with Sinatra was 1966's Strangers in the Night, on which Riddle's feel for contemporary pop in the post-rock & roll age helped Sinatra regain his commercial standing.

Meanwhile, Riddle continued his soundtrack work, crafting some of his most notable material for television. He wrote the distinctive theme for The Untouchables in 1959, and his theme song to the series Route 66 was hugely popular, even making the pop charts when it was released as a single in 1962. Although Riddle didn't write the legendary theme song to the Batman TV series, he scored many of the individual episodes. He also worked on shows like The Man From U.N.C.L.E., Tarzan, Emergency!, and Barnaby Jones, among others. In 1967, he signed on as musical director of the popular Smothers Brothers Comedy Hour, and went on to serve in a similar capacity on early-'70s variety shows hosted by Julie Andrews and Helen Reddy. He earned another Oscar nomination for his work adapting the score of Paint Your Wagon (1969), and notched his first Oscar win for the score of 1974's The Great Gatsby. Meanwhile, Riddle continued to work with Sinatra on special projects, including the singer's 1971 farewell concert at the Ahmanson Theater in Los Angeles, and a 1974 comeback show at Madison Square Garden. As his music grew increasingly jazzy and driving, he also continued his own recording career on Sinatra's Reprise label for a time, later switching to Liberty/United Artists and a succession of smaller imprints.

By the mid-'70s, Riddle was largely retired, a combination of changing musical tastes and health problems that necessarily curtailed his activities. He emerged in the early '80s to work with Linda Ronstadt on a succession of traditional pop albums: 1983's What's New, 1984's Lush Life, and 1986's For Sentimental Reasons. The former two both earned him Grammys for Best Arrangement Accompanying Vocals. Riddle's final completed project was Blue Skies, a 1985 collaboration with opera singer Kiri Te Kanawa. He passed away in Los Angeles on October 6, 1985. ~ Steve Huey, All Music Guide

segunda-feira, 10 de maio de 2010

Henry Mancini - The Second Time Around and Others

  1. The Second Time Around
  2. Moon Talk
  3. The Old College Try Cha-Cha
  4. High Time
  5. Tiger
  6. Fanny
  7. Love Music
  8. Frish Frosh
  9. My Cousin from Naples
  10. Theme from "The Great Imposter"
The Second Time Around

If the recognition of one's peers is the true measure of success, then few men are as successful as composer, arranger, and conductor Henry Mancini. In a career that spanned 40 years, writing for film and television, Mancini won four Oscars and twenty Grammys, the all-time record for a pop artist. For 1961's Breakfast at Tiffany's alone, Mancini won five Grammys and two Oscars. Breakfast at Tiffany's includes the classic "Moon River" (lyrics by Johnny Mercer), arguably one of the finest pop songs of the last 50 years. At last count, there were over 1,000 recordings of it. His other notable songs include "Dear Heart," "Days of Wine and Roses" (one Oscar, two Grammys), and "Charade," the last two with lyrics by Mercer. He also had a number one record and won a Grammy for Nino Rota's "Love Theme From Romeo and Juliet." Among his other notable film scores are The Pink Panther (three Grammys), Hatari! (one Grammy), Victor/Victoria (an Oscar), Two for the Road, Wait Until Dark, and 10. His television themes include "Peter Gunn" (two Grammys, recorded by many rock artists), "Mr. Lucky" (two Grammys), "Newhart," "Remington Steele," and The Thorn Birds television mini-series.

As a child, Mancini learned how to play a variety of musical instruments and as a teenager, he became enamored with jazz and big bands. He began to write arrangements and sent a few to Benny Goodman, who wrote the teenager back, encouraging him to pursue a career in music. Mancini enrolled in the Julliard School of Music in 1942, but his studies were cut short when he served in the military during World War II. After the war, he was hired by Tex Beneke, the leader of the Glenn Miller Orchestra, as a pianist and arranger. In the late '40s, he began writing scores for record and film studios, first for a recording session by the Mel-Tones, which featured his wife Ginny O'Connor, and then the Abbot & Costello film Lost in Alaska, the first movie he scored.

Lost in Alaska led to more film scores, in particular 1954's The Glenn Miller Story and 1956's The Benny Goodman Story, which both showcased his big band roots. Soon, he was working on a large number of films and television, including Orson Welles' Touch of Evil and the TV show Peter Gunn. Mancini's scores frequently straddled the line between jazz and Hollywood dramatics, making his music both distinctive and influential.

Mancini's heyday was the early '60s, when his score for Breakfast at Tiffany's (1961) yielded the Oscar-winning hit single "Moon River," which instantly became a pop standard. The following year, he wrote the music for Days of Wine and Roses, which also won an Oscar for its title song. Throughout the next three decades, he continued to be one of the most successful film composers in the world, as well as a popular concert conductor. He continued working until his death in 1994; just prior to his demise, he was writing the score for the musical adaption of Victor/Victoria.

What kept Mancini's work fresh was his ability to write in almost any style imaginable and his successful experimentations with unusual sounds and instruments. In his 1989 memoir Did They Mention the Music?, Mancini's co-author Gene Lees wrote that "More than any other person, he Americanized film scoring, and in time even European film composers followed in his path," and that Mancini wrote scores that "contained almost as many fully developed song melodies as a Broadway musical." Had he not remained true to his first love, film scoring, Mancini would have more than likely made as large an impact on the Broadway stage as he made on the silver screen. ~ Kenneth M. Cassidy & Stephen Thomas Erlewine, All Music Guide

sábado, 8 de maio de 2010

Ray Anthony & His Orchestra - Dream Dancing - Volume 3

  1. Darn That Dream
  2. Easy to Love
  3. It's the Talk of the Town
  4. This Love of Mine
  5. I Only Have Eyes for You
  6. When Your Love Has Gone
  7. Out of Nowhere
  8. East of the Sun (And West of the Moon)
  9. April in Paris
  10. You'll Never Know
  11. Moonlight in Vermont
  12. Dream Dancing
Dream Dancing 3

sexta-feira, 7 de maio de 2010

Ray Anthony & His Orchestra - Dream Dancing - Volume 2

  1. Laura
  2. When I Fall in Love
  3. The Nearness of You
  4. Falling in Love with Love
  5. I Don't Know Why (I Just Do)
  6. I'll Never Smile Again
  7. Autumn in New York
  8. Street of Dreams
  9. There's A Small Hotel
  10. Embraceable You
  11. Where or When
  12. I'll Be Seeing You
Dream Dancing 2
Related Posts Plugin for WordPress, Blogger...