sexta-feira, 30 de julho de 2010

Norrie Paramor - Autumn - Thirty-three Strings... and A Girl

  1. Autumn in New York
  2. Ev'ry Street's A Boulevard in Old New York
  3. November Song
  4. Autumn Concerto
  5. Love in Tower
  6. Autumn in London Town
  7. Autumn Leaves
  8. Manhattan
  9. Lullaby of Birdland
  10. Broadway Melody
  11. Penthouse Serenade
  12. Harlem Nocturne
AUTUMN MEANS different things to different people.

To some, it is orange pumpkins lying among shocks of brown cornstalks. Or a group of screaming young ladies waving pom-poms and urging an outdoor audience to cheer for the home team.

Autumn is brilliant red and yellow and mixed colors and tints, a blase of rich outdoor tapestry. It is a turkey drumstick and cranberry jelly on a plate. It is crisp, clean air with a frost that makes the earth ghostly white in the early morning.

Autumn means burning leaves in the street, putting up the storm doors and taking the screens down. It means apple cider in big gallon jugs. It means the World's Series, with 18 skilled men being watched by 50 millions of Americans over an international television web.

Autumn is the grey skies over the Army-Navy game, the return to classrooms of millions of young men, young women and teachers dedicated to their work. It is the time when clocks are turned back a full hour, when little kids wearing grotesque costumes yell "trick or treat" at front doors, when the new Broadway shows open and the easts await the reviews in Sardi's to learn if they still have a job.

Norrie Paramor is a soft-spoken young English musician who has wedded a group of favored autumn songs with a number of equally-popular New York songs for this album. He has, he says, tried to catch the feel and smell of autumn in music.

Paramor's brilliant and immense English orchestra features 33 strings and the moody, in-and-out voice of Patricia Clark.

Paramor's arrangements are in the best - the most listenable - tradition established by English musicians from 'way back. Ray Noble, Jack Hylton and Ambrose were the first British leaders to attract big attention, and sell records, in North America. Later came the distinctive styles of Heath, Mantovani, Ron Goodwin, Frank Cordell, Ray Martin, Semprini and Paramor.

"Autumn" is particularly Paramorish - Paramor fans will know the meaning of the term. The twelve tracks are the moodiest. Miss Clark floats in and out like a modern-day Ariel, tantalising and intriguing with her pure, dramatic vocal bits.

It's a great listening experience.

(From the original liner notes)

quinta-feira, 29 de julho de 2010

Romantic Strings - Unforgettable Instrumentals - Vol. 1

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

Richard Jones - Stringtime - Conducting The Pittsburgh Strings

  1. Here in My Arms
  2. We Kiss in A Shadow
  3. Deep Night
  4. Fools Rush in
  5. Laura
  6. If You Are But A Dream
  7. Day in Day out
  8. In the Blue of Evening
  9. In A Sentimental Mood
  10. May Night
  11. Autumn Leaves
  12. There's No You
As cordas sempre constituíram o grupo mais expressivo de instrumentos musicais. Sua beleza é o ponto alto de muitas composições.

E aqui está um dos mais belos conjuntos sonoros do gênero - o naipe de cordas da Orquestra Sinfônica de Pittsburgh na música do tipo mais romântico.

Com notável habilidade e gosto, o regente e arranjador Richard Jones amoldou as orquestrações de modo a proporcionar uma inesquecível coleção de baladas... Laura... Autumn Leaves... We Kiss in A Shadow... essas são melodias que se ajustam maravilhosamente à riqueza e à impetuosidade expressiva das Pittsburgh Strings.

(Extraído das notas originais do álbum)

Miles Davis - Live in Montreal

  1. One Phone Call
  2. Human Nature
  3. Something's on Your Mind
  4. Time After Time
  5. Code M.D.
  6. Jean Pierre
Live in Montreal
Miles Davis - trumpet
Robert Berg - sax
Robert Irving III - synthesizer
Daryl Jones - bass
John Scofield - guitar
Steve Thornton - percussion
Vince Wilburn - drums

One of the true legends of the jazz scene, Miles Davis was not only a virtuoso on the trumpet, but also one of the founders of cool Jazz, Groove, Hard Bop, and Fusion. Available for the first time completely digitally re-recorded is Davis' live performance in Montreal with rare concert footage. This is a must-have for all jazz lovers.

(from the original liner notes)

quarta-feira, 28 de julho de 2010

Ferrante & Teicher - Broadway to Hollywod

  1. I Love Paris
  2. C'Est Magnifique
  3. The Continental
  4. A Foggy Day
  5. No Other Love
  6. The Last Time I Saw Paris
  7. I Am in Love
  8. Allez-Vous-En, Go Away
  9. A Very Special Day
  10. Marriage Type Love
  11. I'm Your Girl
  12. Wonderful Copenhagen
Broadway to Hollywood

domingo, 25 de julho de 2010

Duke Ellington & John Coltrane

  1. In A Sentimental Mood
  2. Take the Coltrane
  3. Big Nick
  4. Stevie
  5. My Little Brown Book
  6. Angelica
  7. The Feeling of Jazz
Duke & Coltrane
John Coltrane, tenor saxophone
Duke Ellington, piano
Jimmy Garrison, bass
Elvin Jones, drums
Sam Woodyard, drums
Aaron Bell, bass

Recorded September, 26th, 1962

Duke Ellington was the most important composer in the history of jazz as well as being a bandleader who held his large group together continuously for almost 50 years. The two aspects of his career were related; Ellington used his band as a musical laboratory for his new compositions and shaped his writing specifically to showcase the talents of his bandmembers, many of whom remained with him for long periods. Ellington also wrote film scores and stage musicals, and several of his instrumental works were adapted into songs that became standards. In addition to touring year in and year out, he recorded extensively, resulting in a gigantic body of work that was still being assessed a quarter century after his death.

Ellington was the son of a White House butler, James Edward Ellington, and thus grew up in comfortable surroundings. He began piano lessons at age seven and was writing music by his teens. He dropped out of high school in his junior year in 1917 to pursue a career in music. At first, he booked and performed in bands in the Washington, D.C., area, but in September 1923 the Washingtonians, a five-piece group of which he was a member, moved permanently to New York, where they gained a residency in the Times Square venue The Hollywood Club (later The Kentucky Club). They made their first recordings in November 1924, and cut tunes for different record companies under a variety of pseudonyms, so that several current major labels, notably Sony, Universal, and BMG, now have extensive holdings of their work from the period in their archives, which are reissued periodically.

The group gradually increased in size and came under Ellington's leadership. They played in what was called "jungle" style, their sly arrangements often highlighted by the muted growling sound of trumpeter James "Bubber" Miley. A good example of this is Ellington's first signature song, "East St. Louis Toodle-oo," which the band first recorded for Vocalion Records in November 1926, and which became their first chart single in a re-recorded version for Columbia in July 1927.

The Ellington band moved uptown to The Cotton Club in Harlem on December 4, 1927. Their residency at the famed club, which lasted more than three years, made Ellington a nationally known musician due to radio broadcasts that emanated from the bandstand. In 1928, he had two two-sided hits: "Black and Tan Fantasy"/"Creole Love Call" on Victor (now BMG) and "Doin' the New Low Down"/"Diga Diga Doo" on OKeh (now Sony), released as by the Harlem Footwarmers. "The Mooche" on OKeh peaked in the charts at the start of 1929.

While maintaining his job at The Cotton Club, Ellington took his band downtown to play in the Broadway musical Show Girl, featuring the music of George Gershwin, in the summer of 1929. The following summer, the band took a leave of absence to head out to California and appear in the film Check and Double Check. From the score, "Three Little Words," with vocals by the Rhythm Boys featuring Bing Crosby, became a number one hit on Victor in November 1930; its flip side, "Ring Dem Bells," also reached the charts.

The Ellington band left The Cotton Club in February 1931 to begin a tour that, in a sense, would not end until the leader's death 43 years later. At the same time, Ellington scored a Top Five hit with an instrumental version of one of his standards, "Mood Indigo" released on Victor. The recording was later inducted into the Grammy Hall of Fame. As "the Jungle Band," the Ellington Orchestra charted on Brunswick later in 1931 with "Rockin' in Rhythm" and with the lengthy composition "Creole Rhapsody," pressed on both sides of a 78 single, an indication that Ellington's goals as a writer were beginning to extend beyond brief works. (A second version of the piece was a chart entry on Victor in March 1932.) "Limehouse Blues" was a chart entry on Victor in August 1931, then in the winter of 1932, Ellington scored a Top Ten hit on Brunswick with one of his best-remembered songs, "It Don't Mean a Thing (If It Ain't Got That Swing)," featuring the vocals of Ivie Anderson. This was still more than three years before the official birth of the swing era, and Ellington helped give the period its name. Ellington's next major hit was another signature song for him, "Sophisticated Lady." His instrumental version became a Top Five hit in the spring of 1933, with its flip side, a treatment of "Stormy Weather," also making the Top Five.

The Ellington Orchestra made another feature film, Murder at the Vanities, in the spring of 1934. Their instrumental rendition of "Cocktails for Two" from the score hit number one on Victor in May, and they hit the Top Five with both sides of the Brunswick release "Moon Glow"/"Solitude" that fall. The band also appeared in the Mae West film Belle of the Nineties and played on the soundtrack of Many Happy Returns. Later in the fall, the band was back in the Top Ten with "Saddest Tale," and they had two Top Ten hits in 1935, "Merry-Go-Round" and "Accent on Youth." While the latter was scoring in the hit parade in September, Ellington recorded another of his extended compositions, "Reminiscing in Tempo," which took up both sides of two 78s. Even as he became more ambitious, however, he was rarely out of the hit parade, scoring another Top Ten hit, "Cotton," in the fall of 1935, and two more, "Love Is Like a Cigarette" and "Oh Babe! Maybe Someday," in 1936. The band returned to Hollywood in 1936 and recorded music for the Marx Brothers' film A Day at the Races and for Hit Parade of 1937. Meanwhile, they were scoring Top Ten hits with "Scattin' at the Kit-Kat" and the swing standard "Caravan," co-written by valve trombonist Juan Tizol, and Ellington was continuing to pen extended instrumental works such as "Diminuendo in Blue" and "Crescendo in Blue." "If You Were in My Place (What Would You Do?)," a vocal number featuring Ivie Anderson, was a Top Ten hit in the spring of 1938, and Ellington scored his third number one hit in April with an instrumental version of another standard, "I Let a Song Go out of My Heart." In the fall, he was back in the Top Ten with a version of the British show tune "Lambeth Walk."

The Ellington band underwent several notable changes at the end of the 1930s. After several years recording more or less regularly for Brunswick, Ellington moved to Victor. In early 1939 Billy Strayhorn, a young composer, arranger, and pianist, joined the organization. He did not usually perform with the orchestra, but he became Ellington's composition partner to the extent that soon it was impossible to tell where Ellington's writing left off and Strayhorn's began. Two key personnel changes strengthened the outfit with the acquisition of bassist Jimmy Blanton in September and tenor saxophonist Ben Webster in December. Their impact on Ellington's sound was so profound that their relatively brief tenure has been dubbed "the Blanton-Webster Band" by jazz fans. These various changes were encapsulated by the Victor release of Strayhorn's "Take the 'A' Train," a swing era standard, in the summer of 1941. The recording was later inducted into the Grammy Hall of Fame.

That same summer, Ellington was in Los Angeles, where his stage musical, Jump for Joy, opened on July 10 and ran for 101 performances. Unfortunately, the show never went to Broadway, but among its songs was "I Got It Bad (And That Ain't Good)," another standard. The U.S. entry into World War II in December 1941 and the onset of the recording ban called by the American Federation of Musicians in August 1942 slowed the Ellington band's momentum. Unable to record and with touring curtailed, Ellington found an opportunity to return to extended composition with the first of a series of annual recitals at Carnegie Hall on January 23, 1943, at which he premiered "Black, Brown and Beige." And he returned to the movies, appearing in Cabin in the Sky and Reveille with Beverly. Meanwhile, the record labels, stymied for hits, began looking into their artists' back catalogs. Lyricist Bob Russell took Ellington's 1940 composition "Never No Lament" and set a lyric to it, creating "Don't Get Around Much Anymore." The Ink Spots scored with a vocal version (recorded a cappella), and Ellington's three-year-old instrumental recording was also a hit, reaching the pop Top Ten and number one on the recently instituted R&B charts. Russell repeated his magic with another 1940 Ellington instrumental, "Concerto for Cootie" (a showcase for trumpeter Cootie Williams), creating "Do Nothin' Till You Hear from Me." Nearly four years after it was recorded, the retitled recording hit the pop Top Ten and number one on the R&B charts for Ellington in early 1944, while newly recorded vocal cover versions also scored. Ellington's vintage recordings became ubiquitous on the top of the R&B charts during 1943-1944; he also hit number one with "A Slip of the Lip (Can Sink a Ship)," "Sentimental Lady," and "Main Stem." With the end of the recording ban in November 1944, Ellington was able to record a song he had composed with his saxophonist, Johnny Hodges, set to a lyric by Don George and Harry James, "I'm Beginning to See the Light." The James recording went to number one in April 1945, but Ellington's recording was also a Top Ten hit.

With the end of the war, Ellington's period as a major commercial force on records largely came to an end, but unlike other big bandleaders, who disbanded as the swing era passed, Ellington, who predated the era, simply went on touring, augmenting his diminished road revenues with his songwriting royalties to keep his band afloat. In a musical climate in which jazz was veering away from popular music and toward bebop, and popular music was being dominated by singers, the Ellington band no longer had a place at the top of the business; but it kept working. And Ellington kept trying more extended pieces. In 1946, he teamed with lyricist John Latouche to write the music for the Broadway musical Beggar's Holiday, which opened on December 26 and ran 108 performances. And he wrote his first full-length background score for a feature film with 1950's The Asphalt Jungle.

The first half of the 1950s was a difficult period for Ellington, who suffered many personnel defections. (Some of those musicians returned later.) But the band made a major comeback at the Newport Jazz Festival on July 7, 1956, when they kicked into a version of "Dimuendo and Crescendo in Blue" that found saxophonist Paul Gonsalves taking a long, memorable solo. Ellington appeared on the cover of Time magazine, and he signed a new contract with Columbia Records, which released Ellington at Newport, the best-selling album of his career. Freed of the necessity of writing hits and spurred by the increased time available on the LP record, Ellington concentrated more on extended compositions for the rest of his career. His comeback as a live performer led to increased opportunities to tour, and in the fall of 1958 he undertook his first full-scale tour of Europe. For the rest of his life, he would be a busy world traveler.

Ellington appeared in and scored the 1959 film Anatomy of a Murder, and its soundtrack won him three of the newly instituted Grammy Awards, for best performance by a dance band, best musical composition of the year, and best soundtrack. He was nominated for an Academy Award for his next score, Paris Blues (1961). In August 1963, his stage work My People, a cavalcade of African-American history, was mounted in Chicago as part of the Century of Negro Progress Exposition.

Meanwhile, of course, he continued to lead his band in recordings and live performances. He switched from Columbia to Frank Sinatra's Reprise label (purchased by Warner Bros. Records) and made some pop-oriented records that dismayed his fans but indicated he had not given up on broad commercial aspirations. Nor had he abandoned his artistic aspirations, as the first of his series of sacred concerts, performed at Grace Cathedral in San Francisco on September 16, 1965, indicated. And he still longed for a stage success, turning once again to Broadway with the musical Pousse-Café, which opened on March 18, 1966, but closed within days. Three months later, the Sinatra film Assault on a Queen, with an Ellington score, opened in movie houses around the country. (His final film score, for Change of Mind, appeared in 1969.)

Ellington became a Grammy favorite in his later years. He won a 1966 Grammy for best original jazz composition for "In the Beginning, God," part of his sacred concerts. His 1967 album Far East Suite, inspired by a tour of the Middle and Far East, won the best instrumental jazz performance Grammy that year, and he took home his sixth Grammy in the same category in 1969 for And His Mother Called Him Bill, a tribute to Strayhorn, who had died in 1967. "New Orleans Suite" earned another Grammy in the category in 1971, as did "Togo Brava Suite" in 1972, and the posthumous The Ellington Suites in 1976.

Ellington continued to perform regularly until he was overcome by illness in the spring of 1974, succumbing to lung cancer and pneumonia. His death did not end the band, which was taken over by his son Mercer, who led it until his own death in 1996, and then by a grandson. Meanwhile, Ellington finally enjoyed the stage hit he had always wanted when the revue Sophisticated Ladies, featuring his music, opened on Broadway on March 1, 1981, and ran 767 performances.

The many celebrations of the Ellington centenary in 1999 demonstrated that he continued to be regarded as the major composer of jazz. If that seemed something of an anomaly in a musical style that emphasizes spontaneous improvisation over written composition, Ellington was talented enough to overcome the oddity. He wrote primarily for his band, allowing his veteran players room to solo within his compositions, and as a result created a body of work that seemed likely to help jazz enter the academic and institutional realms, which was very much its direction at the end of the 20th century. In that sense, he foreshadowed the future of jazz and could lay claim to being one of its most influential practitioners. ~ William Ruhlmann, All Music Guide

Despite a relatively brief career (he first came to notice as a sideman at age 29 in 1955, formally launched a solo career at 33 in 1960, and was dead at 40 in 1967), saxophonist John Coltrane was among the most important, and most controversial, figures in jazz. It seems amazing that his period of greatest activity was so short, not only because he recorded prolifically, but also because, taking advantage of his fame, the record companies that recorded him as a sideman in the 1950s frequently reissued those recordings under his name and there has been a wealth of posthumously released material as well. Since Coltrane was a protean player who changed his style radically over the course of his career, this has made for much confusion in his discography and in appreciations of his playing. There remains a critical divide between the adherents of his earlier, more conventional (if still highly imaginative) work and his later, more experimental work. No one, however, questions Coltrane's almost religious commitment to jazz or doubts his significance in the history of the music.

Coltrane was the son of John R. Coltrane, a tailor and amateur musician, and Alice (Blair) Coltrane. Two months after his birth, his maternal grandfather, the Reverend William Blair, was promoted to presiding elder in the A.M.E. Zion Church and moved his family, including his infant grandson, to High Point, NC, where Coltrane grew up. Shortly after he graduated from grammar school in 1939, his father, his grandparents, and his uncle died, leaving him to be raised in a family consisting of his mother, his aunt, and his cousin. His mother worked as a domestic to support the family. The same year, he joined a community band in which he played clarinet and E flat alto horn; he took up the alto saxophone in his high school band. During World War II, his mother, aunt, and cousin moved north to New Jersey to seek work, leaving him with family friends; in 1943, when he graduated from high school, he too headed north, settling in Philadelphia. Eventually, the family was reunited there.

While taking jobs outside music, Coltrane briefly attended the Ornstein School of Music and studied at Granoff Studios. He also began playing in local clubs. In 1945, he was drafted into the navy and stationed in Hawaii. He never saw combat, but he continued to play music and, in fact, made his first recording with a quartet of other sailors on July 13, 1946. A performance of Tadd Dameron's "Hot House," it was released in 1993 on the Rhino Records anthology The Last Giant. Coltrane was discharged in the summer of 1946 and returned to Philadelphia. That fall, he began playing in the Joe Webb Band. In early 1947, he switched to the King Kolax Band. During the year, he switched from alto to tenor saxophone. One account claims that this was as the result of encountering alto saxophonist Charlie Parker and feeling the better-known musician had exhausted the possibilities on the instrument; another says that the switch occurred simply because Coltrane next joined a band led by Eddie "Cleanhead" Vinson, who was an alto player, forcing Coltrane to play tenor. He moved on to Jimmy Heath's band in mid-1948, staying with the band, which evolved into the Howard McGhee All Stars until early 1949, when he returned to Philadelphia. That fall, he joined a big band led by Dizzy Gillespie, remaining until the spring of 1951, by which time the band had been trimmed to a septet. On March 1, 1951, he took his first solo on record during a performance of "We Love to Boogie" with Gillespie.

At some point during this period, Coltrane became a heroin addict, which made him more difficult to employ. He played with various bands, mostly around Philadelphia, during the early '50s, his next important job coming in the spring of 1954, when Johnny Hodges, temporarily out of the Duke Ellington band, hired him. But he was fired because of his addiction in September 1954. He returned to Philadelphia, where he was playing, when he was hired by Miles Davis a year later. His association with Davis was the big break that finally established him as an important jazz musician. Davis, a former drug addict himself, had kicked his habit and gained recognition at the Newport Jazz Festival in July 1955, resulting in a contract with Columbia Records and the opportunity to organize a permanent band, which, in addition to him and Coltrane, consisted of pianist Red Garland, bassist Paul Chambers, and drummer "Philly" Joe Jones. This unit immediately began to record extensively, not only because of the Columbia contract, but also because Davis had signed with the major label before fulfilling a deal with jazz independent Prestige Records that still had five albums to run. The trumpeter's Columbia debut, 'Round About Midnight, which he immediately commenced recording, did not appear until March 1957. The first fruits of his association with Coltrane came in April 1956 with the release of The New Miles Davis Quintet (aka Miles), recorded for Prestige on November 16, 1955. During 1956, in addition to his recordings for Columbia, Davis held two marathon sessions for Prestige to fulfill his obligation to the label, which released the material over a period of time under the titles Cookin' (1957), Relaxin' (1957), Workin' (1958), and Steamin' (1961).

Coltrane's association with Davis inaugurated a period when he began to frequently record as a sideman. Davis may have been trying to end his association Prestige, but Coltrane began appearing on many of the label's sessions. After he became better known in the 1960s, Prestige and other labels began to repackage this work under his name, as if he had been the leader, a process that has continued to the present day. (Prestige was acquired by Fantasy Records in 1972, and many of the recordings in which Coltrane participated have been reissued on Fantasy's Original Jazz Classics [OJC] imprint.)

Coltrane tried and failed to kick heroin in the summer of 1956, and in October, Davis fired him, though the trumpeter had relented and taken him back by the end of November. Early in 1957, Coltrane formally signed with Prestige as a solo artist, though he remained in the Davis band and also continued to record as a sideman for other labels. In April, Davis fired him again. This may have given him the impetus finally to kick his drug habit, and freed of the necessity of playing gigs with Davis, he began to record even more frequently. On May 31, 1957, he finally made his recording debut as a leader, putting together a pickup band consisting of trumpeter Johnny Splawn, baritone saxophonist Sahib Shihab, pianists Mal Waldron and Red Garland (on different tracks), bassist Paul Chambers, and drummer Al "Tootie" Heath. They cut an album Prestige titled simply Coltrane upon release in September 1957. (It has since been reissued under the title First Trane.)

In June 1957, Coltrane joined the Thelonious Monk Quartet, consisting of Monk on piano, Wilbur Ware on bass, and Shadow Wilson on drums. During this period, he developed a technique of playing several notes at once, and his solos began to go on longer. In August, he recorded material belatedly released on the Prestige albums Lush Life (1960) and The Last Trane (1965), as well as the material for John Coltrane With the Red Garland Trio, released later in the year. (It was later reissued under the title Traneing In.) But Coltrane's second album to be recorded and released contemporaneously under his name alone was cut in September for Blue Note Records. This was Blue Train, featuring trumpeter Lee Morgan, trombonist Curtis Fuller, pianist Kenny Drew, and the Miles Davis rhythm section of Chambers and "Philly" Joe Jones; it was released in December 1957. That month, Coltrane rejoined Davis, playing in what was now a sextet that also featured Cannonball Adderley. In January 1958, he led a recording session for Prestige that produced tracks later released on Lush Life, The Last Trane, and The Believer (1964). In February and March, he recorded Davis' album Milestones..., released later in 1958. In between the sessions, he cut his third album to be released under his name alone, Soultrane, issued in September by Prestige. Also in March 1958, he cut tracks as a leader that would be released later on the Prestige collection Settin' the Pace (1961). In May, he again recorded for Prestige as a leader, though the results would not be heard until the release of Black Pearls in 1964.

Coltrane appeared as part of the Miles Davis group at the Newport Jazz Festival in July 1958. The band's set was recorded and released in 1964 on an LP also featuring a performance by Thelonious Monk as Miles & Monk at Newport. In 1988, Columbia reissued the material on an album called Miles & Coltrane. The performance inspired a review in Down Beat, the leading jazz magazine, that was an early indication of the differing opinions on Coltrane that would be expressed throughout the rest of his career and long after his death. The review referred to his "angry tenor," which, it said, hampered the solidarity of the Davis band. The review led directly to an article published in the magazine on October 16, 1958, in which critic Ira Gitler defended the saxophonist and coined the much-repeated phrase "sheets of sound" to describe his playing.

Coltrane's next Prestige session as a leader occurred later in July 1958 and resulted in tracks later released on the albums Standard Coltrane (1962), Stardust (1963), and Bahia (1965). All of these tracks were later compiled on a reissue called The Stardust Session. He did a final session for Prestige in December 1958, recording tracks later released on The Believer, Stardust, and Bahia. This completed his commitment to the label, and he signed to Atlantic Records, doing his first recording for his new employers on January 15, 1959, with a session on which he was co-billed with vibes player Milt Jackson, though it did not appear until 1961 with the LP Bags and Trane.

In March and April 1959, Coltrane participated with the Davis group on the album Kind of Blue. Released on August 17, 1959, this landmark album known for its "modal" playing (improvisations based on scales or "modes," rather than chords) became one of the best-selling and most-acclaimed recordings in the history of jazz. In between the sessions for the album, Coltrane began recording what would be his Atlantic Records debut, Giant Steps, released in early 1960. The album, consisting entirely of Coltrane compositions, in a sense marked his real debut as a leading jazz performer, even though the 33-year-old musician had released three previous solo albums and made numerous other recordings. His next Atlantic album, Coltrane Jazz, was mostly recorded in November and December 1959 and released in February 1961. In April 1960, he finally left the Davis band and formally launched his solo career, beginning an engagement at the Jazz Gallery in New York, accompanied by pianist Steve Kuhn (soon replaced by McCoy Tyner), bassist Steve Davis, and drummer Pete La Roca (later replaced by Billy Higgins and then Elvin Jones). During this period, he increasingly played soprano saxophone as well as tenor.

In October 1960, Coltrane recorded a series of sessions for Atlantic that would produce material for several albums, including a final track used on Coltrane Jazz and tunes used on My Favorite Things (March 1961), Coltrane Plays the Blues (July 1962), and Coltrane's Sound (June 1964). His soprano version of "My Favorite Things," from the Richard Rodgers/Oscar Hammerstein II musical The Sound of Music, would become a signature song for him. During the winter of 1960-1961, bassist Reggie Workman replaced Steve Davis in his band and saxophone and flute player Eric Dolphy, gradually became a member of the group.

In the wake of the commercial success of "My Favorite Things," Coltrane's star rose, and he was signed away from Atlantic as the flagship artist of the newly formed Impulse! Records label, an imprint of ABC-Paramount, though in May he cut a final album for Atlantic, Olé (February 1962). The following month, he completed his Impulse! debut, Africa/Brass. By this time, his playing was frequently in a style alternately dubbed "avant-garde," "free," or "The New Thing." Like Ornette Coleman, he played seemingly formless, extended solos that some listeners found tremendously impressive, and others decried as noise. In November 1961, John Tynan, writing in Down Beat, referred to Coltrane's playing as "anti-jazz." That month, however, Coltrane recorded one of his most celebrated albums, Live at the Village Vanguard, an LP paced by the 16-minute improvisation "Chasin' the Trane."

Between April and June 1962, Coltrane cut his next Impulse! studio album, another release called simply Coltrane when it appeared later in the year. Working with producer Bob Thiele, he began to do extensive studio sessions, far more than Impulse! could profitably release at the time, especially with Prestige and Atlantic still putting out their own archival albums. But the material would serve the label well after the saxophonist's untimely death. Thiele acknowledged that Coltrane's next three Impulse! albums to be released, Ballads, Duke Ellington and John Coltrane, and John Coltrane with Johnny Hartman (all 1963), were recorded at his behest to quiet the critics of Coltrane's more extreme playing. Impressions (1963), drawn from live and studio recordings made in 1962 and 1963, was a more representative effort, as was 1964's Live at Birdland, also a combination of live and studio tracks, despite its title. But Crescent, also released in 1964, seemed to find a middle ground between traditional and free playing, and was welcomed by critics. This trend was continued with 1965's A Love Supreme, one of Coltrane's best-loved albums, which earned him two Grammy nominations, for jazz composition and performance, and became his biggest-selling record. Also during the year, Impulse! released the standards collection The John Coltrane Quartet Plays... and another album of "free" playing, Ascension, as well as New Thing at Newport, a live album consisting of one side by Coltrane and the other by Archie Shepp.

1966 saw the release of the albums Kulu Se Mama and Meditations, Coltrane's last recordings to appear during his lifetime, though he had finished and approved release for his next album, Expression, the Friday before his death in July 1967. He died suddenly of liver cancer, entering the hospital on a Sunday and expiring in the early morning hours of the next day. He had left behind a considerable body of unreleased work that came out in subsequent years, including "Live" at the Village Vanguard Again! (1967), Om (1967), Cosmic Music (1968), Selflessness (1969), Transition (1969), Sun Ship (1971), Africa/Brass, Vol. 2 (1974), Interstellar Space (1974), and First Meditations (For Quartet) (1977), all on Impulse! Compilations and releases of archival live recordings brought him a series of Grammy nominations, including Best Jazz Performance for the Atlantic album The Coltrane Legacy in 1970; Best Jazz Performance, Group, and Best Jazz Performance, Soloist, for "Giant Steps" from the Atlantic album Alternate Takes in 1974; and Best Jazz Performance, Group, and Best Jazz Performance, Soloist, for Afro Blue Impressions in 1977. He won the 1981 Grammy for Best Jazz Performance, Soloist, for Bye Bye Blackbird, an album of recordings made live in Europe in 1962, and he was given the Grammy Lifetime Achievement Award in 1992, 25 years after his death.

John Coltrane is sometimes described as one of jazz's most influential musicians, but one is hard put to find followers who actually play in his style. Rather, he is influential by example, inspiring musicians to experiment, take chances, and devote themselves to their craft. The controversy about his work has never died down, but partially as a result, his name lives on and his recordings continue to remain available and to be reissued frequently. ~ William Ruhlmann, All Music Guide

For this classic encounter, Duke Ellington "sat in" with the John Coltrane Quartet for a set dominated by Ellington's songs; some performances have his usual sidemen (bassist Aaron Bell and drummer Sam Woodyard) replacing Jimmy Garrison and Elvin Jones in the group. Although it would have been preferable to hear Coltrane play in the Duke Ellington orchestra instead of the other way around, the results are quite rewarding. Their version of "In a Sentimental Mood" is a high point, and such numbers as "Take the Coltrane," "Big Nick," and "My Little Brown Book" are quite memorable. Ellington always recognized talent, and Coltrane seemed quite happy to be recording with a fellow genius. ~ Scott Yanow, All Music Guide

sábado, 24 de julho de 2010

Classic Dream Orchestra - Greatest Hits Go Classic - Elvis Presley

  1. Night Flight
  2. Love Me Tender
  3. It's Now Or Never
  4. Can't Help Falling In Love
  5. Surrender
  6. In The Ghetto
  7. For The Millionth And The Last Time
  8. She's Not You
  9. Are You LonesomeTonight
  10. Crying In The Chapel
  11. Don't Be Cruel
  12. Good Luck Charm
  13. I'm Yours
  14. Night Flight (The Return)
Classic Dream - Elvis Presley

The Night Lovers - Quiet Hours - Conducted by Waldemiro Lemke

  1. La Montana
  2. Unchained Melody
  3. Theme of Summerplace
  4. Here in My Heart
  5. Parlez Moi D'Amour
  6. An Affair to Remember
  7. Stardust
  8. Romantica
  9. Gelsomina
  10. Love Letters
  11. Fascination
  12. Farwell to Arms
Quiet Hours

sexta-feira, 23 de julho de 2010

Orquestra Tropicana sob a direção de Lyrio Panicali - O Melhor da Música Romântica no Cinema

  1. Tender Is the Night
  2. Lover
  3. Maria
  4. Love Me or Leave Me
  5. Fascinação
  6. September Song
  7. Poinciana
  8. Invitation
  9. Tonight
  10. Temptation
  11. Moon River
  12. Love Letters
  13. Come September
  14. Love Is A Many Splendored Thing
Música Romântica no Cinema

quinta-feira, 22 de julho de 2010

Stephen Schlaks - Sensitive and Delicate

  1. Openings
  2. Moon Tears
  3. Sensitive and Delicate
  4. Promises of Moon Love
  5. Sara - Love
  6. Moon Cake La La
  7. Lakes
  8. Joseph Is Calling
  9. Closings
Sensitive and Delicate

Music composed by Stephen Schlaks

Sensitive and Delicate
A Story of Romance and
Love Taking Place During the
First 3 Quarters of the New Moon

Music Composed by Stephen Schlaks

Recorded by Stephen Schlaks
at General Recording Sound / Milano - Italy
during September and October 1979

Mixed at Stone Studios / Carimate, Como - Italy
Recording and Mixing Engineer / "Michael" Assalini Carlo

Orchestra and Chorus under the direction
of Stephen Schlaks and Vince Tempera

Arranged by Vince Tempera

Produced by Baby Records

quarta-feira, 21 de julho de 2010

Steven Schlaks - Blue Dolphin

  1. Blue Dolphin'
  2. The Kiss
  3. Magic Dreams
  4. The Chase
  5. Seymour
  6. Fantasy Girl
  7. Beautiful Shadow
  8. Kitty
  9. Obtuse
  10. Antonia
  11. Freddy's Song
Blue Dolphin

Music composed by Stephen Schlaks
Arranged by Vince Tempera
Recording Engineer - Michel
Produced by Baby Records / Milano

terça-feira, 20 de julho de 2010

Michel Legrand - The Concert Legrand

  1. Once Upon A Summertime
  2. The Saddest Thing of All
  3. You Must Believe in Spring
  4. Wonder Where I'll Be Tomorrow
  5. Christine
  6. Sweet Gingerbread Man
  7. Happy (Lady Sings the Blues)
  8. Snowbird Serenade
  9. Fickle Fingers
  10. Petite Musique D'Amour (Do You Hear Music in Your Sleep?)
  11. Pieces of Dreams
The Concert Legrand

Michel Legrand - piano, assobio
Jack Rothstein - primeiro violino
Derek Watkins - primeiro piston
Don Lusher - primeiro trombone
Roy Willox - instrumentos de sopro de madeira
Ron Mathewson - baixo
Kenny Clare - bateria
Jud Proctor - guitarra-líder
Armand Migiani - saxofone baixo
Phil Woods - saxofone alto

Uma casual leitura dos créditos acima irá revelar que um anão gaulês de tênis chamado Michel Legrand conduziu, orquestrou e compôs cada nota da música contida neste álbum. Mais que isso, ele toca um ou mais instrumentos de teclado na maioria das faixas, assobiou em duas delas, supervisionou a mixagem de 16 canais e co-produziu toda a obra. Consequentemente será um alívio (para nós mortais dotados de insignificante talento) saber que Michel Legrand não projetou a capa do disco, ditou estas notas ou pilotou o avião até Londres onde as gravações foram feitas.

Não há outro músico visível ao público nos dias de hoje que combina tantos talentos tão inventivamente quanto Michel Legrand. Esses críticos irresponsavelmente esnobes que desprezam os álbuns de Legrand assim como toda a música popular orquestral gravada como "Kitsch", ou são musicalmente iletrados ou não estão ouvindo muito atentamente o que Legrand está tentando fazer.

Desde seu primeiro encantador disco americano, "I Love Paris", gravado cerca de vinte anos atrás até a brilhante "Images", uma Suíte para Saxofone Alto, Piano e Orquestra composta em 1975, passando por sua inovadora ópera cinematográfica, "The Umbrellas of Cherbourg", este extraordinário compositor-maestro nunca cessou de explorar, desafiar, tocar e respeitar a arte musical. Há invariavelmente um senso de aventura e uma integridade inabalável nos projetos de Legrand, seja uma trilha sonora, uma canção, um arranjo de jazz, um solo, um acompanhamento, uma aparição pessoal ou uma gravação.

As brilhantes facetas, a profundidade sonora e o alcance espacial do som orquestral são alcançados por Michel Legrand neste disco. Sua interpretação é, como sempre, graciosa, romântica, hábil e interessante.

"The Concert Legrand" foi gravado nos estúdios Olympic, Barnes (um subúrbio de Londres), Inglaterra em fevereiro de 1975. Dirigido por um feiticeiro louco conhecido por seus clientes como Keith Grant, o Olympic foi desenhado e construído com auxílio de clips, cola de avião e um duende de mini-saia chamado Igor. É um dos melhores estúdios de gravação do mundo. Tendo produzido várias de suas trilhas sonoras (notavelmente, "Wuthering Heights" e "The Go-Between") no Olympic, Michel Legrand decidiu que conseguiria um melhor som orquestral em um estúdio familiar, no levemente fantasmagórico ambiente que os visitantes americanos costumam chamar de "Túmulo de Grant".

Michel, juntamente com o co-produtor Norman Schwartz, Keith Grant, o arregimentador Nat Peck e cerca de cinquenta dos melhores músicos de Londres, conseguiram o que queriam - um som soberbo.

(Extraído das notas originais do álbum escritas por Nat Shapiro)

Michel Legrand has made his fame and fortune from writing for films, but he has done significant work in jazz on an occasional basis. In 1957, he arranged a set of Dixieland and swing standards for a French orchestra (recorded on Philips), in 1958 he used three different all-star groups for the classic Legrand Jazz (with such sidemen as Miles Davis, John Coltrane, Phil Woods, Herbie Mann, Bill Evans, Ben Webster, Art Farmer, and others), in 1968 he recorded a strictly jazz set with a trio and Legrand has written for albums led by Stan Getz (1971), Sarah Vaughan (1972), and on several occasions, Phil Woods. Several of his songs (such as "What Are You Doing the Rest of Your Life," "Watch What Happens," and "The Summer Knows") have been recorded many times by jazz musicians. ~ Scott Yanow, All Music Guide

segunda-feira, 19 de julho de 2010

Billy Vaughn and His Orchestra - Dancing with Billy Vaughn

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

Mantovani and His Orchestra - From Mantovani with Love

  1. Try To Remember
  2. It's Impossible (Somos Novios)
  3. My Prayer
  4. If I Only Had Time
  5. Loss of Love
  6. Gwendolyne
  7. Rosy's Theme
  8. Theme From "Love Story"
  9. Little Green Apples
  10. Last Summer
  11. Where Have All the Flowers Gone?
  12. May Each Day
With Love

Mantovani in Action!

Fantastic Strings - My Favorites - Vol. 3

  1. Fascination
  2. Lawrence of Arabia
  3. Mrs. Robinson
  4. Eleanor Rigby
  5. More
  6. Russisches Volkslied
  7. For Once in My Life
  8. The Sound of Music
  9. Poème
  10. The Impossible Dream
  11. Aquarius
  12. Die Moldau (Smetana)
  13. People
  14. Love Me Tonight
  15. Nights in White Satin
  16. Born Free
My Favorites 3

domingo, 18 de julho de 2010

Don Costa - Never on Sunday - Classic Movie Music of the '50s & '60s

  1. Never on Sunday
  2. Theme from "The Unforgiven"
  3. The Misfits
  4. From Here to Eternity
  5. An Affair to Remember (Our Love Affair)
  6. Third Man Theme
  7. I'll Walk the Line
  8. Mack the Knife
  9. Song from "Moulin Rouge" (Where Is Your Heart)
  10. Picnic
Never On Sunday

Arranger/producer Don Costa's catalog of work is sprinkled with names like Paul Anka, Sammy Davis, Jr. ("Candy Man," gold, co-produced with Mike Curb, from the Gene Wilder movie Willy Wonka and the Chocolate Factory), Frank Sinatra, James Darren, Eddy Arnold, Vic Damone, Donny Osmond ("Young Love," the B-side of his cover of "A Million to One"), Marv Johnson, Trini Lopez ("If I Had a Hammer"), Kenny Rankin (The Kenny Rankin Album), Lloyd Price ("Stagger Lee," gold, number one R&B for four weeks, number one pop for four weeks, and "(You've Got) Personality," gold, number one R&B for four weeks, number two pop for three weeks, spring 1959), among many others.

Costa, who was born in Boston, MA, on June 10, 1925, had some of his biggest successes with Paul Anka, including the singer's two number one hits, the million-sellers "Diana" (number one pop, number one R&B for two weeks), and "Lonely Boy" (number one pop for four weeks, number six R&B). Anka had won a trip to Manhattan after winning a soup wrapper collection contest from Campbell's Soup. After being enthralled with the city, Anka, a songwriter and aspiring recording artist, borrowed money from his father to return to the bustling music center.

His first stop was the offices of ABC-Paramount Records where he met with Costa. After listening to Anka's four songs, Costa told the teenager to send for his parents so that they could sign the recording contract. "Diana" and "Lonely Boy" were included on Paul Anka Sings His Big 15, which peaked at number four pop on Billboard's charts in summer 1960. After a long and successful career, Don Costa died in New York in 1983.

Don Costa's work can be found on Lloyd Price Sings His Big Ten, The Very Best Of Bobby Sherman, Rhino's Best of James Darren, The Best Of Eddy Arnold, Yesterday and Today: A Celebration in Song by Perry Como, Best Of Robert Goulet,The Best Of The Highwaymen, Very Best Of Lou Monte, Greatest Hits by Marie Osmond, Peaceful: The Best of Kenny Rankin, and on his own Never on Sunday: Classic Movie Music of the 50's & 60's. ~ Ed Hogan, Rovi

Emoções Clássicas - Volume 3 - Classical Party - Various Artists

  1. Overture - Allegro (Scarlatti-Tommasini) - The Cleveland Orchestra / Luois Lane
  2. Cantabile for Violin and Guitar (Paganini) - Itzhak Perlman, violin and John williams, guitar
  3. Sleigh Ride (Mozart) - New York Philharmonic Orchestra / Leonard Bernstein
  4. Mo's Art from Piano Sonata in C major (Mozart) - Free Flight
  5. A Midsummer Night Dream Overture (Mendelssohn) - Cleveland Orchestra / George Szell
  6. Great Waltz from "La Gaieté Parisienne" (Offenbach) - Philadelphia Orchestra / Eugene Ormandy
  7. Polka from "The Bartered Bride" (Smetana) - Cleveland Orchestra / George Szell
  8. Dança Brasileira (Camargo Guarnieri) - New York Philharmonic Orchestra / Leonard Bernstein
  9. Arabesque nº 1 (Debussy) - Philadelphia Orchestra / William Smith
  10. I Got Rhythm Variations (Gershwin) - Morton Gould & His Orchestra with Oscar Levant
  11. Capriccio nº 24 (Paganini) - John Williams
  12. Andante Cantabile (Tchaikovsky) - New York Philharmonic Orchestra / Leonard Bernstein
  13. The Flight of the Booble-Bee (Rimsky-Korsakov) - Philadelphia Orchestra / Eugene Ormandy
Classical Party

Instrumental Classics - Various Artists - Volume 2

  1. Tiger Rag - Louis Armstrong
  2. Doop - Roger Miller
  3. Tennessee - Tennessee
  4. Tea for Two - Benny Goodman
  5. Pan D'Amour - M. Chevalier
  6. All About Soul - Christie Rose
  7. Apache - The Apaches
  8. Red Roses for A Blue Lady - Billy Vaughn
  9. Cadillac Rock - Lollipops
  10. Violinromanze in F - Roy Martin
  11. Wheels - Johnny "Guitar" King
  12. Zorba's Dance - Mykonos Ensemble
  13. Take the "A" Train - Glenn Miller
  14. Ghostriders in the Sky - The Spotnicks
  15. Giora Feldman - Carlos Fontana
  16. Bridges of Budapest - Jazz Point
  17. Chanson D'Amour - Mantovani
  18. One Note Samba - Julio Gomez
  19. Le Rêve - Ricky King
  20. Queen of Mambo - Sergio Mendes
Instrumental Classics 2

sábado, 17 de julho de 2010

Lawrence Welk - 22 Great Songs for Dancing

  1. Bubbles in the Wine
  2. Scatterbrain
  3. Donna Lee
  4. Firefly Serenade
  5. Emerald Hop
  6. That Old Black Magic
  7. Corn Silk
  8. Laura Jean
  9. Loveable Doll
  10. Rustic Dance
  11. In A Little Second Hand Store
  12. Whistle A Happy Tune
  13. Sound of Music
  14. Maria
  15. Getting to Know You
  16. Get Me to the Church on Time
  17. Begin the Beguine
  18. It Might as Well Be Spring
  19. On A Clear Day
  20. If I Loved You
  21. People Will Say We're in Love
  22. On the Street Where You Live
Songs for Dancing

If you feel like dancing, this is the compilation for you. And if you DON'T feel like dancin, this is the compilation that can change your mind!

You'll hear irresistible tunes like "Bubbles in the Wine", the original Welk theme song which instantly conjures up a picture of a ballroom full of whirling couples; "Begin the Beguine", Cole Porter's classic song; "Getting to Know You"; "Corn Silk"; and "That Old Black Magic" among others, all played in that magical, danceable Welk style. And you can be sure the "beat" is pure perfection. The Welk band began as a dance orchestra, and Lawrence himself loves to dance, so his mark of the ultimate rhythmic beat is apparent in every number. Put on your dancing slippers, and enjoy!

(From the original liner notes)

It may or may not be true that Lawrence Welk is the most popular easy listening artist of all time, but it's difficult to think of anyone who is more prominently associated with the genre. Welk's long-running TV variety show was a huge success in its time, and remains an enduring favorite in reruns. And while Welk recorded prolifically, his true musical legacy was built through the doggedly innocuous, wholesome aesthetic of his show. He was an unlikely television star -- his thick German accent and on-camera stiffness would have been crippling liabilities for many other hosts. Yet Welk was beloved in spite of -- or, perhaps, because of -- those limitations, mainly because he knew his audience and paid close attention to what it wanted. In the process, he created a stable of familiar performers whose regular appearances were eagerly anticipated by his viewers. Demanding and particular, Welk put them through rigorous rehearsals, and aggressively enforced the inoffensive, nonthreatening tone that made the show so palatable for viewers of all ages. For people who considered themselves remotely hip, that tone made Welk's name synonymous with sanitized entertainment, and an easy target for derision. He and his acts were often dismissed as hopelessly square, by turns fluffy or sentimental, and reflecting an idealized purity that didn't really exist anywhere. He also drew criticism for the extreme scarcity of minority performers on the show, seemingly another symptom of its kowtowing to white-bread Middle America. Yet that essential conservatism helped give The Lawrence Welk Show an amazingly lasting appeal; after it lost its network slot, it spent more than a decade in syndication with greater success than ever, and found new life when its reruns became the chief source of revenue for many public television stations across the country. Welk was born on March 11, 1903, in the small, heavily German town of Strasburg, ND. His parents had fled the unrest in Alsace-Lorraine, the disputed border region between Germany and France, and settled on a small farm on the outskirts of town. One of eight children, Welk dropped out of school in the fourth grade to work on the farm, and spoke almost nothing but German up until his teen years. He learned to play polka music on his father's accordion, and at age 13, he began performing professionally at local dances and social events. Four years later, he convinced his father to buy him his own accordion; in exchange, he promised to work on the farm until he was 21, and to give all his musical earnings to the family up to that point. Upon turning 21, Welk took up music full-time, playing in various polka and vaudeville-style bands around the area. He eventually formed his own quartet, the Lawrence Welk Novelty Orchestra, and in 1927 decided to head south to New Orleans in search of work. On the way, the group stopped in Yankton, SD, and was offered a one-week deal to perform on local radio; they were such a success that they were signed to a permanent contract. Welk's band stayed headquartered in Yankton for the next ten years, playing both locally and all over the Midwest; they went through several name changes, including the Hotsy Totsy Boys, the Honolulu Fruit Gum Orchestra, and the Biggest Little Band in America. In 1937, Welk moved the group to Omaha, and it soon grew into a ten-piece outfit, playing swinging dance music in the so-called "sweet band" style. A 1938 gig at the William Penn Hotel in Pittsburgh prompted one fan to compare Welk's light, bubbly music to champagne, and Welk adopted the tag from then on, describing his sound as "champagne music." In 1940, at the height of the big-band era, Welk secured a booking for his group at the Trianon Ballroom in Chicago; it proved such a success that Welk moved his family to Chicago and wound up with a ten-year residency there. The waning popularity of big bands subsequently forced Welk to go back on tour to make ends meet. In 1951, he made a successful appearance on a late-night TV show in Los Angeles. The idea of working in television captured his imagination, and led him to move to L.A. the following year. The Lawrence Welk Show made its national debut in 1955 as a midseason replacement on ABC. Over the next few years, it amassed enough of a following to become one of the network's most popular shows, making catch phrases out of Welk's oft-repeated "wunnerful, wunnerful" and "ah-one and-a two." Its trademark visual style was built around low-budget cardboard props, bright pastel colors, and bubble-blowing machines. Welk played the roles of host and bandleader, populating his play list with pleasant arrangements of well-established standards and pop hits. The emphasis was always on songs his audience would already recognize, though he and musical director George Cates did showcase comic novelty songs and the polka music Welk had grown up with as well. Welk built up a solid base of recurring featured performers, the best known of which included accordionist/assistant conductor Myron Floren, ragtime pianist Jo Ann Castle, singing group the Lennon Sisters, Dixieland clarinetist Pete Fountain, Irish-style singer Joe Feeney, tap dancer Arthur Duncan (the show's lone African-American regular), dancer and former Mouseketeer Bobby Burgess (who went through a succession of female dance partners), and a featured female singer dubbed the Champagne Lady. Welk established his reputation as a hard-nosed disciplinarian early on. He never allowed comedians to appear on the show, for fear of an off-color joke slipping through, and he refused alcohol and cigarette products as sponsors. In 1959, he fired the first Champagne Lady, Alice Lon, for displaying too much leg during a telecast. Irate viewers wrote in to protest the firing, and Welk tried to hire her back, but she would have none of it; her replacement was Norma Zimmer, who remained with the show for quite some time. Burgess' female dance partners were subject to the same kinds of whims, and Fountain -- arguably the most talented regular -- reportedly left over what Welk felt was an inappropriately jazzed-up Christmas song. More problematic for some modern-day viewers might be the show's watered-down handling of ethnicity; while not really offensive for its time, some of the ethnic theme shows would be considered embarrassing by today's standards, and dancer Duncan's mannerisms came in for criticism as the civil rights era dawned. Meanwhile, Welk had been managing a productive career as a recording artist. He had released records in his early days, but naturally he hit a whole new plateau once he had the power of television behind him. Between 1956 and 1963, 19 of Welk's LPs reached the Top 20, and ten of those made the Top Ten. Welk achieved his greatest popularity on record with the Dot label during the early '60s, spearheaded by the smash instrumental hit "Calcutta," which became his only number one -- and, for that matter, Top Ten -- single in 1961. The accompanying LP of the same name also reached number one, and five more albums -- Last Date, Yellow Bird, Moon River, Young World, and Baby Elephant Walk and Theme From the Brothers Grimm -- climbed into the Top Ten over the next two years. Although Welk never equaled that run of success, he continued to chart albums on a regular basis up through 1973. In 1971, ABC canceled The Lawrence Welk Show, feeling that its target audience was growing too old to appeal to advertisers. Welk quickly secured a syndication deal that placed his show on over 200 stations around the country, and kept right on producing it up through 1982. As the '70s wore on, many of the old performers retired or moved on, to be replaced by similar acts that essentially followed the show's long-established blueprint. But even if there were fewer individual standouts, the show still filled an audience niche that otherwise went largely ignored. Following his retirement in 1982, Welk settled in Santa Monica, CA, and soon established a combination resort/retirement community, the Lawrence Welk Country Club Village, in Escondido. He also acquired a vast music publishing catalog, as well as other real estate holdings. Starting in 1987, some public television stations began airing reruns of The Lawrence Welk Show, to the delight of an elderly viewing base. As the '90s wore on, public TV came to rely more and more on The Lawrence Welk Show as a staple moneymaker during pledge drives, thus ensuring its continued availability and popularity well after Welk's passing: he died of pneumonia on May 17, 1992. The band he once led continued to perform at the Champagne Music Theater in Branson, MO. ~ Steve Huey, All Music Guide

sexta-feira, 16 de julho de 2010

Instrumental Classics - Various Artists - Volume 1

  1. Stranger on the Shore - Mr. Acker Bilk
  2. Blue Shadow - The Apaches
  3. Michelle - M. Chevalier
  4. Tequila - The Champs
  5. Bella Romantica - Carlos Fontana
  6. El Condor Pasa - Johnny "Guitar King"
  7. Moonlight Serenade - Glenn Miller
  8. Tequila Tequila - Roy Martin
  9. Spanish Eyes - Billy Vaughn
  10. Mexican Whistler - Roger Whittaker
  11. Red Moon Rock - The Lollipops
  12. Dark Eyes - Jazz Point
  13. A Whiter Shade of Pale - Mantovani
  14. I Can See Clearly Now - Christie Rose
  15. Streets of Philadelphia - Roger Miller
  16. Albatross - The Spotnicks
  17. Sirtaki Dance - Mykonos Ensemble
  18. Carribean Night - Andrew Rose
  19. Verde - Ricky King
  20. Mexico - The Trumpetballs
Instrumental Classics 1

Berry Benton - Lovin' Motel - Volume 1

  1. Senza Fine
  2. That Old Black Magic
  3. Baubles, Bangles And Beads
  4. Call Me Irresponsible
  5. Mr. Lucky
  6. Days Of Wine And Roses
  7. I've Got You Under My Skin
  8. Stormy Weather
  9. Autumn Leaves
  10. Don't Misunderstand
  11. Speak Low
  12. I Left My Heart In San Francisco
Lovin' Motel

quinta-feira, 15 de julho 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

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