sexta-feira, 11 de junho de 2010

Nice and Easy on vacation!

Prezados visitantes

A partir de hoje estaremos de férias durante os próximos vinte dias. Quaisquer esclarecimentos com relação às postagens publicadas, por favor, deixem seus comentários no "Formulário Pro" ou enviem um e-mail para

Retornaremos em breve com mais novidades no mundo fantástico da "easy listening music". Até lá!

The Max Hedrom Team

quinta-feira, 10 de junho de 2010

Jimmy Hamilton - As Time Goes By

  1. Stranger on the Shore
  2. Misty
  3. Shadow of Your Smile
  4. As Time Goes By
  5. Departing Lovers
  6. Don't Get Around Much Anymore
  7. Warm Valley
  8. 'C' Jam Blues
  9. Happy Go Lucky Local
  10. Satin Doll
As Time Goes By
Jimmy Hamilton - alto saxophone, clarinet, saxophone
Gary Mayone - piano
Joe Straws - bass
Delroy Thomas - drums

Recorded in St. Croix, Virgin Islands, September 24, 1985

 Jimmy Hamilton (1917 - 1994)

A longtime member of the Duke Ellington Orchestra, Jimmy Hamilton's cool vibrato-less tone and advanced style (which was ultimately influenced by bop) initially bothered some listeners more accustomed to Barney Bigard's warmer New Orleans sound, but Hamilton eventually won them over with his brilliant playing. As opposed to how he sounded on clarinet, Hamilton's occasional tenor playing was gutsy and emotional. Prior to joining Ellington, he had worked with Lucky Millinder, Jimmy Mundy, and most noticeably Teddy Wilson's sextet (1940-1942) and Eddie Heywood; Hamilton also recorded with Billie Holiday. He was with Ellington for 25 years (1943-1968), and was well-featured on clarinet on "Air Conditioned Jungle," "Ad Lib on Nippon," and a countless number of other pieces. After leaving Ellington, Hamilton moved to the Virgin Islands, where he taught music in public schools. He did return to the U.S. to play with Clarinet Summit in 1981 and 1985, and gigged a bit in New York during 1989-1990, but was otherwise little heard from in his later years. Jimmy Hamilton only had a few opportunities to record as a leader, mostly dates for Urania (1954), Everest (1960), Swingville (two in 1961), and a 1985 set for Who's Who. ~ Scott Yanow, All Music Guide

quarta-feira, 9 de junho de 2010

Nat King Cole - The Very Best of Nat King Cole - Volume 5

  1. Acércate Más
  2. Solamente Una Vez
  3. Perfidia
  4. Adelita
  5. Te Quiero, Dijiste
  6. Tres Palabras
  7. Ansiedad
  8. Nadie Me Ama
  9. Noche de Ronda
  10. Capullito de Aleli
  11. Ay Cosita Linda
  12. El Bodeguero
  13. Aquellos Ojos Verdes
  14. Vaya Con Dios
The Very Best 5

terça-feira, 8 de junho de 2010

Nat King Cole - The Very Best of Nat King Cole - Volume 4

  1. When I Fall in Love
  2. Answer Me, My Love
  3. Fly Me to the Moon
  4. Non Dimenticar (Don't Forget)
  5. Autumn Leaves
  6. Quizas, Quizas, Quizas
  7. Tenderly
  8. The Sand and the Sea
  9. The Christmas Song
  10. Love Is the Thing
  11. Darling, Je Vous Aime Beaucoup
  12. Dear Lonely Hearts
  13. That Sunday, That Summer
  14. L-O-V-E
The Very Best 4

segunda-feira, 7 de junho de 2010

Nat King Cole - The Very Best of Nat King Cole - Volume 3

  1. On the Street Where You Live
  2. The Party's Over
  3. Fascination
  4. People
  5. September Song
  6. Love Is A Many-Splendored Thing
  7. Love Letters
  8. Stella by Starlight
  9. Arrivederci Roma
  10. When You're Smiling
  11. Around the World
  12. St. Louis Blues
  13. Just One of Those Things
  14. The Memphis Blues
The Very Best 3

domingo, 6 de junho de 2010

Nat King Cole - The Very Best of Nat King Cole - Volume 2

  1. Stardust
  2. The Very Thought of You
  3. These Foolish Things (Remind Me of You)
  4. Ain't Misbehavin'
  5. Love Is Here to Stay
  6. Red Sails in the Sunset
  7. You Stepped Out of A Dream
  8. Once in A While
  9. When Your Lover Has Gone
  10. Let's Fall in Love
  11. (I Love You) for Sentimental Reasons
  12. Smoke Gets in Your Eyes
  13. What Is This Thing Called Love?
  14. Where or When
The Very Best 2

sábado, 5 de junho de 2010

Nat King Cole - The Very Best of Nat King Cole - Volume 1

  1. Mona Lisa
  2. Unforgettable
  3. Too Young
  4. Nature Boy
  5. Somewhere Along the Way
  6. Smile
  7. A Blossom Fell
  8. Can't I?
  9. Pretend
  10. Ramblin' Rose
  11. Walkin' My Baby Back Home
  12. Send for Me
  13. (Get Your Kicks on) Route 66
  14. Ballerina
The Very Best 1

Infelizmente, devido às pretensões legais da famigerada DMCA, fomos impedidos de divulgar os textos referentes à biografia do nosso inigualável Nat King Cole. Pedimos desculpas aos nossos visitantes por esse fato constrangedor e, ao mesmo tempo infeliz, uma vez que nos sentimos impotentes frente a essa investida contraproducente em termos culturais e informativos. Porém, como sendo obedientes com relação às normas dos usuários do Blogger, colocamo-nos à disposição para quaisquer esclarecimentos, sendo eles legalmente justificáveis ou meramente absurdos. Entendemos que a informação é universal, pertence a todos, independente de fatores coercitivos. Até mesmo uma suposta informação que nos obrigue a não divulgá-la.

The Max Hedrom Team

sexta-feira, 4 de junho de 2010

Frank Chacksfield and His Orchestra - Chacksfield Plays Bacharach

  1. Raindrops Keep Fallin' on My Head
  2. Alfie
  3. I'll Never Fall in Love Again
  4. This Guy's in Love with You
  5. Paper Maché
  6. Trains and Boats and Planes
  7. (They Long to Be) Close to You
  8. You'll Never Get to Heaven
  9. The Look of Love
  10. To Wait for Love
  11. The Green Grass Starts to Grow
  12. Wives and Lovers
Plays Bacharach

quinta-feira, 3 de junho de 2010

Burt Bacharach - Hit Makers! - Burt Bacharach Plays His Hits

  1. Walk on By
  2. And So Goodbye My Love
  3. Saturday Sunshine
  4. Sail on Silv'ry Moon
  5. Don't Make Me Over
  6. Don't Go Breaking My Heart
  7. Blue on Blue
  8. The Last One to Be Loved
  9. (There's) Always Something There to Remind Me
  10. 24 Hours from Tulsa
  11. Trains and Boats and Planes
  12. Wives and Lovers
  13. A House Is Not A Home
  14. Anyone Who Had A Heart
  15. My Little Red Book
  16. What's New Pussycat?
Hit Makers!
Burt Bacharach, one of the top hit-makers in the music business today, is an advocate of team effort. He belongs to that rare group of creative people who plays down the "I" and "Me" when discussion his song achievements and, instead, builds up the "We" and "Us".

This is all in preface to the way Burt feels about his long-time collaborator, lyricist Hal David. From the long list of hits produced by the Bacharach-David team, it has become quite obvious that rarely have two song-makers been so well attuned.

A hit song of any stature has always depended on the proper blending of music and lyric and that is why Burt feels so strongly about Hal's lyrics. "We have worked out a collaborative pattern in which the words and music are virtually inseparable", says Burt, "and that's why I utilize choruses with lyric interjections so that the words can be given an extensive display".

In addition to his teaming with David, Bacharach feels that an important reason he's had more hits in the past three years than even before is that he doesn't leave the song afer it has been put down on the lead sheet. He writes the arrangements, rehearses the artists and takes greater care of the way the material is handled when it's ready to be recorded.

Bacharach has been able to do all this because of the varied influences that have helped shape his musically. He studied serious music with such illustrious names as Darius Milhaud and Henry Cowell, and he got his first taste of the pop music world as piano accompanist for Vic Damone, The Ames Brothers, Steve Lawrence and Georgia Gibbs, amoung others. Also, on and off for the past six years, he has been conductor and accompanist for Marlene Dietrich's engagements around the world.

It's a background that has made Bacharach the fine musician-composer he is today, but he's still the first to admit that it's his collaboration with Hal David that has put their songs in the front rank

(from the original liner notes)

With a hit-single track record spanning four decades, Burt Bacharach became one of the most important composers of popular music in the 20th century, almost equal to such classic tunesmiths as George Gershwin or Irving Berlin. His sophisticated yet breezy productions borrowed from cool jazz, soul, Brazilian bossa nova, and traditional pop to virtually define and undoubtedly transcend the staid forms of Brill Building adult pop during the 1960s.

Born May 12, 1928, in Kansas City, he studied cello, drums, and piano as a child, and was later transplanted to New York City by his father, a syndicated columnist. The time spent in New York gave him a chance to sneak into clubs to watch his bebop heroes Dizzy Gillespie and Charlie Parker; he also played in several jazz bands during the 1940s. Bacharach studied music theory and composition at the Mannes School in New York, at Berkshire Music Center, at the New School for Social Research (with Darius Milhaud), at Montreal's McGill University, and at the Music Academy of the West in Santa Barbara, CA. A period in the Army interrupted his concentration of music study, but even while serving in Germany, Bacharach arranged and played piano for a dance band. He also played in nightclubs and backed Steve Lawrence, the Ames Brothers, and Paula Stewart. Bacharach was discharged in 1952, and he married Stewart on December 22nd of the following year.

On returning to the U.S., he began writing songs for Lawrence, Patti Page, the Ames Brothers, and others, but his first hit came from Marty Robbins in late 1957 when Robbins took "The Story of My Life" to the American Top 20 and the number one spot in England. The single was also notable for its co-composer, Hal David, who became Bacharach's songwriting partner and collaborated on most of his big hits. The Bacharach/David team followed up in January 1958 with Perry Como's "Magic Moments," another U.K. chart-topper and a Top Five entry in America. Bacharach's marriage dissolved in 1958, and he left for Europe to tour with Marlene Dietrich. He returned in 1961, and wrote several songs for the Drifters with Bob Hilliard (including "Mexican Divorce" and "Please Stay") before reuniting with Hal David. At an arranging session, he found the singer who became the ultimate vehicle for his songs: Dionne Warwick who was working as a member of the Drifters' backup vocal group, the Gospelaires.

By late 1962, Bacharach and David began focusing most of their composing energy on Warwick, who was the recipient of 15 Top 40 singles from 1962 to 1968 (including the Top Tens "Anyone Who Had a Heart," "Walk on By," "Message to Michael," "I Say a Little Prayer," "Valley of the Dolls," and "Do You Know the Way to San Jose?"). The duo also remained dominant in England, where Frankie Vaughan, Cilla Black, Sandie Shaw, the Walker Brothers, and Herb Alpert all hit number one with Bacharach/David compositions. As if their schedule wasn't busy enough throughout the '60s, the songwriters contributed film scores for What's New Pussycat?, Alfie, and Casino Royale. The film featuring their most celebrated score, Butch Cassidy and the Sundance Kid (1969), won Oscars for Best Original Score and Best Theme Song for "Raindrops Keep Fallin' on My Head" (plus two non-musical Academy Awards). Bacharach and David began working on the musical Promises, Promises in the late '60s; it won a Tony and a Grammy Award (for cast album) during a popular three-year Broadway run. Bacharach hit the charts himself in 1969, with the show's "I'll Never Fall in Love Again" reaching the Top 100. Surprisingly, this was not his only foray into recording; Bacharach had reached number four in the U.K. charts in May 1965 with "Trains and Boats and Planes," and he released several popular solo albums during the late '60s.

The beginning of the '70s looked bright for Burt Bacharach, as the Carpenters took "(They Long to Be) Close to You" to number one in the U.S. in July 1970. The forecast was premature, though, as three of his closest partners -- Hal David, Dionne Warwick, and his second wife Angie Dickinson -- left him. He gathered several accolades for an eponymous 1971 album featuring renditions of his previous hit compositions, but later albums were disappointing and Bacharach's next hit was over a decade in coming. Finally in 1981, he collaborated with Christopher Cross, Carole Bayer Sager, and Peter Allen on the Oscar-winning "Arthur's Theme." Bacharach married Bayer Sager just one year later, and together they wrote Roberta Flack's Top 20 hit "Making Love," as well as "Heartlight" which Neil Diamond took to number five.

Once Bacharach resumed composing he began to hit, and 1986 was one of his finest years, with two American number ones: "That's What Friends Are For" (by an all-star group including Warwick, Elton John, Gladys Knight, and Stevie Wonder) and a duet by Patti LaBelle and Michael McDonald titled "On My Own." He divorced Sager in 1991, but worked with Dionne Warwick again two years later on "Sunny Weather Love," from her Friends Can Be Lovers album. Also in 1993, Bacharach contributed songs to James Ingram, Earth, Wind & Fire, and Tevin Campbell. Around the same time, many alternative bands began name-checking the hitmaker as an influence, and Oasis frontman Noel Gallagher joined him on the stage of the Royal Albert Hall as well as including a picture of him on the cover of Oasis' Definitely Maybe. BBC-TV focused on Bacharach in a January 1996 documentary, and a three-disc retrospective of his compositions was released by Rhino in 1998. That same year he collaborated with Elvis Costello on the acclaimed Painted From Memory, and was celebrated at an all-star concert at Radio City Music Hall which later formed the basis for the LP One Amazing Night. The 2005 album At This Time found Bacharach writing lyrics for the first time. Tonio K helped with the lyrics, Elvis Costello, Dr. Dre, Chris Botti, and Rufus Wainwright also contributed to the album. ~ John Bush, All Music Guide

quarta-feira, 2 de junho de 2010

Ray Conniff e Os Cantores - Love Story

  1. (Where Do I Begin) Love Story
  2. Sweet Caroline
  3. It's Impossible
  4. Come Saturday Morning
  5. For the Good Times
  6. Watching Scotty Grow
  7. Rose Garden
  8. El Condor Pasa (If I Could)
  9. If You Could Read My Mind
  10. My Sweet Lord
  11. For All We Know
  12. Rosa (Rose Nel Buio)
Love Story
Ray and Vera Conniff

Filho de pai trombonista e mãe pianista, foi natural que ele seguisse o caminho da carreira musical. Conforme Ray contava em suas entrevistas, fez um curso por correspondência, com um único dólar, que o introduziu na arte da teoria musical. Formou o seu primeiro grupo artístico ainda adolescente. Anos mais tarde, aperfeiçoou-se de forma profunda na carreira, ao se tornar discípulo da Juilliard School. Depois de atuar e formar uma sólida base musical como trombonista e arranjador nas Big Bands, como as de Artie Shaw, Harry James e outros, Ray passou a escrever arranjos para Johnny Mathis, Guy Mitchell, Johnnie Ray, mas devido a seu talento, teve a oportunidade de formar sua própria orquestra em 1955, a convite de Mitch Miller, da CBS.

Seu estilo de associar vozes masculinas a trombones, trompas e saxofones baixo, e vozes femininas a pistons, clarinetes e saxofones altos, dava-lhe uma característica inusitada e só sua. Seu coral limitava-se a pronunciar sons como da-das e du-du-dus e outras variantes, ao invés de palavras, o que imprimia um "colorido musical", intensificando os tons suaves e, ao mesmo tempo, abrandando os mais fortes.

O som de Conniff ficou famoso logo após o lançamento de seu primeiro disco solo, em 1956, e que se intitulou ´S Wonderful, que vendeu milhões de cópias e permaneceu por meses nas primeiras posições da parada de sucessos. Daí até o segundo, terceiro e quarto álbuns, todos de grande sucesso, foi um pulo, assim como seus lançamentos subseqüentes.

Ray Conniff fez um grande sucesso até o início da segunda metade da década de 1960, período em que seu som ainda era ouvido em bailes de clubes, nas rádios e nas festinhas caseiras. No entanto, a partir do final desta mesma década, suas vendas começaram a decair. A despeito disso, sempre se manteve fiel a seu estilo, com algumas variantes, como discos com o pistonista Billy Butterfield e a introdução dos cantores ainda no início da década de 1960 e que, a partir do final desta, passariam a ser a sua maneira predominante de interpretar as canções, com gravações mais espaçadas do estilo que lhe consagrou, até por uma imposição do mercado que, àquela altura, apresentava forte concorrência com o lançamento de novos estilos mundo afora.

Naquela mesma época, fez sua primeira visita ao Brasil, como convidado, ao lado de Henry Mancini, para o Festival Internacional da Canção, onde então teve oportunidade de imprimir seu estilo a uma orquestra constituída de músicos e coral inteiramente brasileiros. Seu som, sempre fidelíssimo a seu estilo, levou a platéia do Maracanãzinho ao delírio, interpretando Aquarela do Brasil, Tico-Tico e Somewhere My Love. Foi o início de uma série de vindas ao Brasil e de shows pelo mundo afora (América Latina, Inglaterra, Alemanha, Japão, Rússia, etc). Em todos esses lugares era recebido com enorme entusiasmo pelas platéias.

A partir de meados da década de 1970, reduziu seus cantores de 24 para 8 vozes, sem que perdesse em qualidade sonora ou comprometesse seu estilo. Na década de 1980/1990, voltou-se de vez para o mercado latino, tendo gravado centenas de canções, incluindo algumas brasileiras, concentrando-se basicamente no repertório musical de Roberto Carlos e de Julio Iglesias. Ainda assim, lançou álbum de trilhas sonoras de filmes americanos e que incluíam sucessos como Titanic, Superman, A Bela e a Fera, etc e outro com cantores do estilo country americano.

Ray Conniff permanecia vindo ao Brasil quase que anualmente, tal era o seu sucesso até sua última tour por essas terras, no ano 2001, na qual ainda revelava muita alegria e disposição e era ovacionado por enorme platéia onde quer que fosse.

Durante vários anos, quando se apresentava em São Paulo, ficava sempre hospedado no Hotel Eldorado Higienópolis, e alí, durante toda temporada, convivia diariamente com os moradores da região, pois frequentava a lanchonete sorriso que há em frente ao hotel até hoje; conversava com todos os frequentadores do local e ainda atendia aos fãns.

Para tristeza de todos os amantes da boa música, Ray sofreu um derrame cerebral em abril de 2002, tendo se recuperado do mesmo, chegando a fazer planos de voltar ao Brasil, quando foi surpreendido por outro derrame, na saída de um restaurante, no qual almoçara com a família, e que naquele dia 12 de outubro de 2002 lhe roubaria a vida.

Sua última canção gravada foi "Nossa Senhora" de Roberto Carlos.

terça-feira, 1 de junho de 2010

Frank Chacksfield - Presenting Frank Chacksfield and His Orchestra

  1. Theme from Film "Limelight"
  2. "Limelight" Incidental Music
  3. A Girl Called Linda
  4. Golden Violins
  5. High Feather
  6. Glorious
  7. Ebb Tide
  8. Waltzing Bugle Boy
  9. Golden Tango
  10. Song of Canterbury
  11. Dancing Princess
  12. The Pied Piper
Presenting Frank

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