domingo, 31 de janeiro de 2010

Piano Favourites - Various Artists

  1. Moonlight in Vermont - Roger Swift
  2. That Old Black Magic - Tony Osborne
  3. Quando, Quando, Quando - Tony Osborne
  4. A Foggy Day - Roger Swift
  5. Younger Than Springtime - Tony Osborne
  6. Louise - Basil Tait
  7. Wisteria - Ronnie Price
  8. Dearly Beloved - Jack Dieval
  9. The Way You Look Tonight - Jack Dieval
  10. When You Wish Upon A Star - Roger Swift
  11. Tenderly - Basil Tait
  12. April in Paris - Basil Tait
  13. A Fine Romance - Ronnie Price
  14. Nuances - Jack Dieval
  15. The Folks Who Live On the Hill - Jack Dieval
  16. Hey There - Tony Osborne
  17. I Love You Samantha - Tony Osborne
  18. All the Things You Are - Jack Dieval
Piano Favourites
Here are some all-time favourites played by Tony Osborne, Jack Dieval, Basil Tait, Ronnie Price and Roger Swift. 

With accompaniments ranging from orchestras to trios, the brilliance of the pianists is matched only by the memorable hits they are playing.

sábado, 30 de janeiro de 2010

101 Strings Orchestra - Saudade de Gershwin & Cole Porter

  1. Begin the Beguine
  2. Someone to Watch Over Me
  3. I've Got You Under My Skin
  4. In the Still of the Night
  5. Rhapsody in Blue
  6. But Not For Me
  7. It Ain't Necessarily So
  8. Summertime
  9. Love For Sale
  10. I Love You
  11. A Woman Is A Sometimes Thing
  12. Night and Day
Gershwin & Cole Porter

sexta-feira, 29 de janeiro de 2010

Edú da Gaita - Amigos

  1. Primeiro Amor
  2. Tenebroso
  3. Por um Beijo
  4. Banzo
  5. Melodias Brasileiras: Linda Flor / Brasil / Carinhoso / Apanhei-te Cavaquinho
  6. Numa Seresta
  7. Batuque Nº 1
  8. Disparada
  9. Rosa
  10. Murmurando
  11. Capricho Nortista: Baião / Asa Branca / Pé de Serra / Mangaratiba / Juazeiro / Serido
  12. Gaitinha Gaúcha
  13. Brasileirinho
  14. A Voz do Violão
  15. Rapsódia Portuguesa
  16. Velhos Tempos
  17. Uma Gaita Sobe o Morro
  18. Valsa do Minuto
  19. Serra da Boa Esperança
  20. Cafundó
  21. Feitiço da Vila
Edú da Gaita
Edu da Gaita (Eduardo Nadruz), de ascendência síria, nasceu em Jaguarão, RS, na fronteira com o Uruguai, em 13.10.1916, e faleceu em 23.08.1982, na cidade do Rio de Janeiro. Era o primogênito de 3 filhos. Seu pai desfrutava de boa posição na cidade como arrendatário de um cinema.

Em 1925, foi estudar em colégio interno de padres, na cidade de Pelotas, o São Luiz Gonzaga. Nesse ano , o representante local das famosas gaitas Hohner, da Alemanha, promoveu entre a criançada um concurso e o menino Eduardo, dentre os mais de 300 concorrentes, ganhou o primeiro prêmio, sem que a vitória significasse para ele algum interesse particular pelo instrumento ou pela música.

Continuou seus estudos ginasianos em Porto Alegre e, como tantos brasileiros, seu pai não conseguiu escapar da crise mundial. Eduardo pouco colaborava, a ponto de abandonar os estudos e levar uma vida sem definição. Seu pai entendeu que era chegada a hora dele trilhar um rumo mais responsável e esse rumo apontava para São Paulo: "São Paulo é uma grande cidade. Lá ele vai aprender a ser gente!"

Deu 300 mil-réis ao filho, que embarcou para Santos num Ita, o Itassucê. Como tocasse razoavelmente plano de ouvido, ganhou do comandante as passagens com a condição de tocar durante a viagem. Em Santos permaneceria poucos dias sem conseguir emprego. Em São Paulo, para onde foi em seguida, pretendia trabalhar na rua Vinte e Cinco de Março em alguma loja de comerciante árabe, mas também nada arranjou.

O ano era de 1933, logo depois da Revolução Constitucionalista, e o fato de ser gaúcho precisava ser escondido para não prejudicá-lo, pois os paulistas ainda estavam muito ressentidos com a derrota.

Na pensão, por falta de pagamento, foi avisado de que, se não acertasse as contas, seria despejado em 15 dias. Andando pelas ruas em busca de uma saída, na ladeira da avenida São João, viu alguém tocar gaita e passar o pires. Lembrou-se então dos seus tempos de pelotas e do concurso de gaitas. Sentiu que esse podia ser um meio para minorar sua situação. Não tinha porém o instrumento, ou melhor não tinha a gaita e nem a "gaita" para comprá-la.

Perto ficava a Casa Manon, loja de músicas e instrumentos. O gerente queixou-se a ele de que as gaitas não atraíam compradores e o estoque estava encalhado. Eduardo teve a idéia de propor-lhe um trato: ganharia uma porcentagem por gaita que conseguisse vender. Foi então para a porta da loja e começou a tocar. Resultado: não demorou a vender aos passantes 24 gaitas, com direito à porcentagem e uma gaita para si.

E assim Eduardo foi levando a vida na capital paulista, a tocar gaita e a fazer o que aparecesse, inclusive sendo camelô. Chegou a tocar na Rádio Cruzeiro do Sul. Aí resolveu partir para o Rio de Janeiro, onde chegou no Sábado do carnaval de 1934. Sem revelar que era gaúcho, foi à Rádio Mayrink Veiga em busca de uma oportunidade junto a César Ladeira, diretor-artístico da mesma, que se notabilizara em São Paulo como o "speaker" da Revolução Paulista ao microfone da Rádio Record.

César o aceitou e o escalou para tocar no programa Desenhos Animados. Só que não gostou do seu nome Eduardo Nadruz, nada artístico, e o apresentou como Edu e Sua Gaita. O "da Gaita" viria bem depois. Pouco duraria esse seu início radiofônico, porquanto seu repertório não passava de 2 tangos e 1 rancheira.

Eis Eduardo der volta às mesmas dificuldades, com a diferença de que passou a levar a gaita a sério, estudando sem parar, embora sem nunca ter aprendido a ler música, que compensava com o ouvido absoluto de que era possuidor. O grande empecilho é que as gaitas encontradas no Brasil não dispunham de recursos e ele pressentia que, em algum lugar, devia haver modelos mais avançados.

Então, em 1939, dar-se-ia o verdadeiro início de sua carreira. Conversava com o pianista Nonô, no Café Nice, quando chega o cantor e violonista Fernando (de Albuquerque), que havia chegado há pouco de Nova Iorque, onde estivera com a Orquestra de Romeu Silva na feira Mundial.

Fernando tinha começado na casa Edison (Odeon) nos anos 20. Pois fernando contou aos presentes que havia trazido de Nova iorque uma gaita diferente, com uma "chave". Edu, vivamente interessado, não sossegou enquanto Fernando não foi buscar a tal gaita. A "chave cromática" era tudo o que ele vinha imaginando e correspondia às teclas pretas do piano. Emocionadíssimo, levou-a aos lábios e tocou como se a conhecesse há anos. Era a solução definitiva.

Ainda como músico de rua e bares, foi ouvido por Sílvio Caldas e por ele levado à Rádio Mayrink Veiga, onde permaneceria sob contrato por 10 anos, transferindo-se a seguir para a Rádio Nacional. Nesse mesmo ano de 1939, faz seu primeiro disco, na Colúmbia, neste CD., com Canção da Índia e Violino Cigano. Em Canção da Índia teve o acompanhamento dos Swing-Maníacos, ou seja, os irmãos Dick e Cyll Farney e Hélio Beltrão, futuro ministro no governo Figueiredo.

Sua carreira, a partir daí, foi se solidificando cada vez mais no rádio, cassinos e através de excursões. No seu instrumento, era o maior do Brasil, O Mago da Gaita. Por ser muito magro não escapava dos brincalhões: O Magro da Gaita.

O fim do jogo, em 1946, e fechamento dos cassinos, também não o pouparia. Uma excursão à Argentina, que deveria durar o tempo normal de 4 semanas, estender-se-ia por quase dois anos. Já estava casado com Hercília, com a qual teve um único filho, Eduardo como ele, médico.

Nessa ocasião, começou a cultivar o sonho de gravar o Moto Perpétuo, do célebre violinista e compositor italiano Niccolo Paganini (1782-1840), obra tida como impossível de ser executada em instrumento de sopro. Seu interesse em ser o primeiro no mundo a realizar a proeza foi despertado quando ouviu, na Mayrink veiga, o violinista João Correia de Mesquita fazer uns exercícios com a música durante um ensaio.

Não foi difícil para Edu aprender os 150 compassos sem pausa do Moto Perpétuo, mesmo não lendo música, mas se passariam 11 longos anos de obsessivos estudos até que se sentisse pronto para gravá-lo. O público sempre teve, desde o início, conhecimento desse seu objetivo. Assim, em 1956, quando chegou ao estúdio da Continental, havia jornalistas para acompanhar o grande acontecimento e observar se não haveria alguma montagem indevida.

O primeiro registro, com Leo Peracchi ao piano, saía sem qualquer falha até que alguém deixou cair ao chão uma máquina de escrever. Só na 39ª tentativa, já à noite, foi que o Moto Perpétuo resultou perfeito.

Sua façanha de tocar pela primeira vez, em todo o mundo, o Moto Perpétuo em instrumento de sopro seria mais tarde repetida, entre outros, por Paulo Moura ao saxofone e pelo trumpetista mexicano Rafael Mendez.

O perfeccionismo era o traço predominante do artista Edu, que se autodefinia como uma "pilha de nervos". Mas sempre foi bem e cordial amigo, capaz de frases como "Edu e sua gaita e o Láfer (ministro da Fazenda de Getúlio) com a "nossa".

Em 1960, participou da 3ª Caravana Oficial da Música Popular Brasileira, organizada por Humberto Teixeira e capitaneada por Joraci Camargo, da qual; fazia parte o Sexteto de Radamés Gnattali com Chiquinho do Acordeom. Apresentaram-se em Portugal, França, Itália, Inglaterra e Alemanha. Na Alemanha, aproveitou para conhecer a fábrica da Hohner em Trossingen. Ao examinar os modelos, tocou uma parte do Moto Perpétuo. Foi o bastante para a direção presenteá-lo com uma coleção de gaitas.

Nunca quis se radicar e fazer carreira no exterior. Nacionalista, entendia que no Brasil podia fazer mais por sua cultura. A própria gravação do Moto Perpétuo continha o desejo de mostrar ao mundo que os brasileiros eram gente de talento. Seu sonho era também provar que a gaita merecia uma cátedra nas escolas de música por ser um instrumento completo, definido.

Não há dúvida de que, mais do que qualquer outro, conseguiu demonstrá-lo, tanto que a história da gaita, no Brasil, pode ser dividida em antes e depois dele (Texto de Abel Cardoso Júnior).

quinta-feira, 28 de janeiro de 2010

Eliane Elias - Something For You

  1. You and the Night and the Music
  2. Here's Something For You
  3. A Sleepin' Bee
  4. But Not For Me
  5. Waltz For Debby
  6. Five
  7. Blue in Green
  8. Detour Ahead
  9. Minha (All Time)
  10. My Foolish Heart
  11. But Beautiful / Here's That Rainy Day
  12. I Love My Wife
  13. For Nenette
  14. Evanesque
  15. Solar
  16. After All
  17. Here's Something For You (Intro)
Something For You
Desde cedo a paulistana Eliane teve contato com diferentes estilos de música (sua mãe, pianista clássica, tocava discos de jazz em casa). Estudou no CLAM por seis anos (tendo também começado a ensinar), depois com Amilton Godoy e com o pianista e compositor clássico Amaral Vieira. Ainda adolescente, tocou em orquestras em clubes. Depois de uma turnê pela Europa, foi encorajada pelo contrabaixista Eddie Gomez a ir para Nova Iorque, o que fez em 1981. Lá estudou na Julliard School of Music.

Entrou para o grupo Steps Ahead do saxofonista Michael Brecker, onde ficou por um ano, participando do disco epônimo, de 1983. Depois tocou com o irmão de Michael, o trompetista Randy Brecker, com quem se casou. Gravaram juntos o disco Amanda (nome da filha do casal), em 1985. Em 1986 Eliane gravou seu álbum de estréia como líder, Illusions. Nos anos seguintes, tocaria com músicos consagrados como Joe Henderson, Toots Thielemans, Jack DeJohnette, Peter Erskine, Eddie Gomez, Marc Johnson e Herbie Hancock (com este gravou Solos and Duets, de 1995, disco elogiado pela crítica e indicado para o Grammy). Dentre os artistas brasileiros, Eliane tocou com Gilberto Gil, Caetano Veloso, Ivan Lins, Toninho Horta e Naná Vasconcelos, entre outros.

Em Eliane Elias Plays Jobim, de 1989, ela passou também a cantar em algumas faixas, embora o centro de sua atividade musical continue sendo o piano, e o trio a sua formação preferida. Eliane compõe continuamente, e temas de sua autoria já foram interpretados por diversos músicos, como Pat Metheny, Toots Thielemans, os Brecker Brothers, a Carnegie Hall Jazz Orchestra e a Danish Radio Big Band. Em suas apresentações e discos, os temas próprios coexistem com standards do repertório jazzístico e com temas da música popular brasileira, principalmente de Tom Jobim.

Em 1991, Eliane entrou para a equipe da International Association of Jazz Educators (IAJE), e de 1995 a 1998 lecionou na Manhattan School of Music. Desde 1986 grava para o selo Blue Note.

(V.A. Bezerra, 2001)

quarta-feira, 27 de janeiro de 2010

Joe Henderson - Double Rainbow

  1. Felicidade
  2. Dreamer
  3. Boto
  4. Ligia
  5. Once I Loved
  6. Triste
  7. Photograph
  8. Portrait in Black and White
  9. No More Blues
  10. Happy Madness
  11. Passarim
  12. Modinha
Double Rainbow
The first tune ever wrote, as a teenager, was a tune that I later titled "Recorda-me". This was before the bossa nova was introduced to North America by Stan Getz and Charlie Byrd. My tune had a kind of generic Latin beat to it, without being any specific rhythm, like a pachanga or a bolero or a samba. But when I first heard this "bossa nova" (above the gunshots, because I was in military training at the time), it caused me to go back to "Recorda-me", not to rewrite it - but to change the rhythm of the melody line, in order to fit the bossa nova pulse. So Jobim had a profound effect on even the way that I proceeded with melodies that I already had going on in my brain. I'll be forever indebted to him for that, and I had the chance to tell him so in 1993, when I was in Rio to take part in a tribute to him.

I feel there's a side of me that the bossa nova appeals to, a real soft side. There are songs on this album that do have a more jagged kind of edge, and that was the idea - to make each one unique, and not to play with a uniform tempo and feeling. But those softer moments are great to me. When we recorded those tracks, I felt really at peace with myself, and with the world around me.

Jobim was a tunesmith of the first order, and his music had even larger consequences, because he understood what Brazil was all about on a cultural level. His tunes - they're almost like a travelogue for Brazil. But working on this album, it was an education for me to learn the deeper range of Jobim's music. When Richard Seidel and Oscar Castro-Neves and I started looking through the hundreds of Jobim's songs, there were of course a few tunes that I already knew; but two-thirds of the songs on this album were songs that I didn't know at all. I enjoy playing his music the way I like some of the Cole Porter tunes, some of the Gershwin tunes. They offer so much, with their unique structures, and they're so strong that they lend themselves to alteration without losing their essential character. This album is primarily a great selection of tunes; they just happen to be written by one man.

He was definitely a person who had the magic going some kind of way.

The seeds of this project were planted at two 1993 concerts in Rio and Sao Paulo, celebrating the music of Jobim. These events marked the first time Joe Henderson met and performed with this great composer. (Herbie Hancock, incidentally, also was a featured artist on these programs).

In April 1994, at the Carnegie Hall celebration of Verve's 50th Anniversary, Joe and Jobim reunited for a performance of "Desafinado" that was a true highlight of the event. After this, the plans were set in motion for the sessions that have resulted in 'Double Rainbow'.

The plan was to record the project with two discreet rhythm sections. The first would explore repertoire from a North American point of view, and he recorded in Los Angeles. This session went off without a hitch.

The intention for the second session was to record in Rio with Jobim himself on piano, Nico Assumpcão, and Paulo Braga: the music interpreted in a more purely Brazilian style. Just days before we were to leave for Rio, we learned that health problems were going to make it impossible for Jobim to participate. The album was then completed in New York City with Paulo, Nico, Eliane Elias, and Oscar Castro-Neves.

It's our deepest regret that Jobim did not survive to participate in what was designed as a living celebration and collaboration with the premier tenor saxophonist in jazz, Joe Henderson. But the beauty, richness and ebullience of the music contained here is celebratory nonetheless. We hope Antonio would have agreed.

(Richard Seidel)

How does one say goodbye to a friend that is suddenly gone? I first met Tom* when I was 16. He not only became a dear friend, but a source of inspiration and enthusiasm for our craft.

The void is permanent. Jobim was unique both as a composer and as a person. I will miss the friend, the composer, the colorful storyteller, the defender of the environment and I will keep wondering about the wonderful melodies he did not have the time to write. The beauty of his music is everlasting and my memories of him are joyful ones. So I will not say goodbye.

(Oscar Castro-Neves)

*Antonio Carlos Jobim died in New York City on December 8, 1994. This album is dedicated to him and the timeless music he has created.

Jobim's nickname in Brazil.

Joe Henderson - tenor saxophone
Eliane Elias - piano
Oscar Castro-Neves - guitar
Nico Assumpção - bass
Paulo Braga - drums
Herbie Hancock - piano
Christian McBride - bass
Jack DeJohnette - drums

Joe Henderson (1937-2001)

Nascido em uma cidadezinha do interior dos EUA (Lima, no estado de Ohio), Joe Henderson começou a tocar saxofone na escola e costumava creditar sua escolha pelo instrumento a um baterista de sua cidade natal, chamado John Jarette, que o aconselhou a ouvir discos de Charlie Parker, Stan Getz e outros. Primeiro se encantou pelo timbre e simplicidade de Stan Getz, mas seria Parker sua maior inspiração. Também o influenciaram dois pianistas de Lima (Don Hurles e Richard Patterson), amigos de suas irmãs e irmãos mais velhos - eram quinze irmãos no total - que lhe deram noções básicas / práticas de piano, bem como seu primeiro professor de sax no colégio, que lhe transmitiu seu profundo conhecimento do instrumento, ensinando-o a escrever e compor música. Ainda na escola, Henderson compôs muitas músicas para a banda do colégio e bandas de rock de Lima.

Parte para Detroit e estuda com Larry Teal na Teal School of Music, aprendendo mais teoria, harmonia e refinando o som tirado de seu sax. Mais tarde freqüenta a Wayne University, onde estuda flauta e contrabaixo e, no final de 1959, forma sua primeiro conjunto. No ano seguinte é recrutado pelo exército.

No exército participa de um show de talentos, ganha o primeiro lugar com um quarteto e é classificado para a competiçao geral do exército; mais uma vez tem êxito, passando a integrar uma banda de militares que viajava o mundo entretendo os soldados. As excursões com a banda o levaram ao Japão, Coréia, Panamá, Itália, Espanha, Alemanha, França e Inglaterra.

Depois de sair do exército, dois anos mais tarde, Henderson parte para Nova Iorque, onde conhece músicos de peso como Dexter Gordon, o qual, certa noite no clube Birdland, seguindo a indicação de amigos que já conheciam Henderson, convidou-o a subir ao palco. Acompanhado apenas da seção rítmica, em poucos minutos o clube o aplaudia entusiasticamente e, segundo o trompetista e amigo de ambos Kenny Dorham, Gordon ficou paralisado e boquiaberto na coxia.

Em 1963 assina com a gravadora Blue Note e entra para o quinteto de Horace Silver um ano mais tarde. Gravam juntos clássicos como “Song for my Father”, no qual o solo fenomenal de Henderson representa bem seu estilo lírico e criativo, deixando clara a influência de Lester Young e Stan Getz. Henderson gravou muitos discos próprios e ao lado de outros músicos. Em três ocasiões rendeu homenagens à obra de outros músicos, que lhe valeram três Grammys: Lush Life em homenagem a Billy Strayhorn, So Near So Far de Miles e o disco Double Rainbow tocando músicas de Tom Jobim.

Joe Henderson morreu no dia 30 de junho de 2001 de enfisema pulmonar.

Fernando Jardim

terça-feira, 26 de janeiro de 2010

Stanley Black - Spectaculat Dances - with the Royal Philharmonic and the London Symphony Orchestras

  1. Slavonic Dance, op. 46 no. 1 (Dvorak)
  2. "Du und Du" Waltz (Die Fledermaus) (Johann Strauss II)
  3. Russian Sailors' Dance (The Red Poppy) (Glière)
  4. Dance of the Hours (La Gioconda) (Ponchielli)
  5. Danse Macabre (Saint-Saens) with Alan Loveday on violin
  6. Hungarian Dance (Brahms)
  7. Miller's Dance & Final Dance (The Three-Cornered Hat) (Falla)
  8. Slavonic Dance, op. 46 no. 8 (Dvorak)
  9. Waltz (The Sleeping Beauty) (Tchaikovsky)
  10. Dance of the Tumblers (The Snow Maiden) (Rimsky-Korsakov)
  11. Invitation to the Dance (Weber)
  12. Dance ot the Comedians (The Bartered Bride) (Smetana)
  13. Comedians' Galop (The Comedians) (Kabalevsky)
Spectacular Dances 1
Spectacular Dances 2

Stanley Black conducting the Royal Philharmonic and the London Symphony Orchestras

segunda-feira, 25 de janeiro de 2010

Stéphane Grappelli - The Jazz Masters - 100 anos de Swing

  1. You Took Advantage of Me
  2. Star Eyes
  3. Anything Goes
  4. Don't Blame Me
  5. Moonlight in Vermont
  6. Caravan
  7. It Might As Well Be Spring
  8. Have You Met Miss Jones
  9. Love Song
  10. Sing Hallelujah
The Jazz Master

Personnel:
Stéphane Grappelli - violin
Phil Woods - alto-saxophone
Louis Bellson - drums
John and Marc Fosset - guitars

domingo, 24 de janeiro de 2010

Claude Bolling Big Band and Stephane Grappelli - First Class

  1. Stéphane
  2. De partout et d'ailleurs
  3. Minor Swing
  4. Tears
  5. Just One of Those Things
  6. Blue Skies
  7. Cute
  8. do You Know What It Means to Miss New Orleans
  9. Crazy Rhythm
  10. Lush Life
  11. Moon Glow
  12. Nice Work If You Can Get It
  13. Moon Mist
  14. Lady Be Good
First Class
Desde o momento em que apareceu na França, o jazz chamou a atenção. Mais que uma simples curiosidade ou uma moda, a música afro-americana foi reconhecida como uma criação, com conteúdos estético e cultural significativos da civilização americana, enquanto no seu próprio país era percebida apenas como um divertimento. Por isso o jazz fez escola na França.

Este álbum é o encontro entre dois dos maiores músicos da chamada escola de jazz francês. Os dois são ligados à mesma corrente estilística, o jazz clássico, mas pertencem a duas gerações diferentes: Grapelli, um dos grandes mestres da primeira geração, e Bolling, símbolo do middle jazz, da segunda. Claude bolling empreende essas duas sessões de gravações com uma extraordinária bagagem: de pianista, de regente e, principalmente, de arranjador. A música de Django Reinhardt e Stéphane Grappelli alimentou sua juventude e foi fonte de inspiração de um de seus primeiros discos em 1956, uma preciosidade, onde ele, respeitando as composições originais, imprimia sua própria referência ellingtoniana.

Nas quatorze faixas deste álbum, Bolling procedeu da mesma maneira. Sua música é uma homenagem, uma moldura. É uma escritura em função e para Grapelli, aquele mesmo Grapelli que faz parte de seu museu musical imaginário. Bolling nos convida a compartilhar seu passeio neste universo encantado.

Claude Bolling

Pianista prodígio, jazzista desde menino, aos 14 anos ele já é membro da SACEM - a sociedade de autores na França. Suas influências são Fats Waller e Earl Hines. Estuda composição e harmonia. Com 16 anos rege sua primeira orquestra inteiramente composta de músicos adultos.

A partir de 1956, Claude Bolling já brilha nas várias facetas de seu talento: trilhas sonoras de cinema, TV e teatro, arranjos para os maiores "stars" da canção francesa, jazzman solo, em trio ou regendo sua própria orquestra.

A partir de 1970, depois de compor e gravar a "Sonata para 2 pianistas", com Jean-Bernard Pommier, astros famosos como Rampal, Lagoya, Maurice André, English Chamber Orchestra, encomendam-lhe obras entre o clássico e o jazz. Assim nascem as "Suítes para flauta e para violino", o "Concerto para violão", a "Picnic Suite", a "Toot Suite" e outras.

Recebe seis vezes o Grand Prix du Disque, na França. Nos EUA, a "Suíte para Flauta" fica durante 530 semanas nos primeiros lugares da revista Billboard. Em 1981, recebe o Disco de Ouro.

Stéphane Grappelli*

Nasce em 26 de janeiro de 1908. Em 1921 ganha seu primeiro violino.

Em 1931 o regente Alain Romans contrata-o para a "Croix du Sud", um cabaret de Montparnasse frequentado por Jean Cocteau, Jacques Tati, Joseph Kessel e outros grandes artistas da época. É lá que ele encontra, numa noite, o grande guitarrista cigano francês Django Reinhardt. Dois anos depois a associação dos dois artistas torna-se definitiva e logo depois nasce o famoso "Quintette du Hot Club de France".

O primeiro disco traz os lendários "Lady Be Good", "Sweet Sue", "Tiger Rag", etc...Em agosto de 1939, Stéphane Grapelli está tocando no Palladium de Londres e acaba ficando na Inglaterra durante toda a guerra. Em 1947, o famoso "Quintette" é reconstituído e continua se apresentando com êxito até 1950, quando Django se afasta progressivamente dos palcos. Stéphane resolve então partir para nova carreira.

Colabora com os maiores artistas de jazz: as orquestras de Duke Ellington e Glenn Miller, os solistas Oscar Peterson, Gary Burton, Baden Powell, Barney Kassel, Earl Hines, Teddy Wilson, Martial Solal e muitos outros.

Toca no Festival de Cambridge diante de 25.000 jovens. Grava seis discos com o grande violinista clássico Yehudi Menuhin, compõe a música do filme de Louis Malle "Milou en Mai".

Excelente pianista em suas horas vagas, universalmente reconhecido como o melhor violinista do jazz, Stéphane Grappelli ostenta com elegância suas 82 primaveras, um exemplo de classe e de longevidade musical.

(Extraído das notas originais do álbum)

*Grappelli faleceu em 1º de dezembro de 1997, em Paris.

sábado, 23 de janeiro de 2010

Quincy Jones - Strike Up the Band

  1. Baby Elephant Walk
  2. The Pink Panther
  3. Dreamsville
  4. Soldier in the Rain
  5. Blues in the Night
  6. Take Five
  7. After Hours
  8. Desafinado
  9. Cast Your Fate to the Wind
  10. Jive Samba
  11. Strike Up the Band
  12. Dear Old Stockholm
  13. The Gentle Rain
  14. Bossa Nova USA
Strike up the Band
This compilation focuses on the Quincy Jones' Orchestra as one of the quintessential post-modern big bands, comfortable in any musical setting, location, or format, and including a retinue of excellent players with no regard for race, gender or nationality. Culling most of its tracks from Jones' solid — yet still long out of print — albums for Mercury of the early '60s, the collection hits many highpoints with dozens of top-flight guests. Several of the best include a 1964 version of "The Pink Panther"; "Baby Elephant Walk" (from the same session); "After Hours" from 1963 with Terry, Burrell, and Roland Kirk; and last but not least "Dear Old Stockholm" from 1961 with a truly killer lineup: Benny Bailey, Curtis Fuller, Phil Woods, Sahib Shihab, Tito Puente, and Patato Valdez. In all, Strike Up the Band compiles some of the most elegantly swinging selections of Quincy Jones' entire career.

Quincy Delight Jones, Jr., was born on the south side of Chicago on March 14, 1933. His parents divorced soon after his younger brother, Lloyd, was born, and the Jones boys were raised by their father, a carpenter, and his new wife. She had three children of her own, and three more with Quincy Jones, Sr. His birth mother, Sarah Jones, was in and out of mental health facilities, and it wasn't until his adult life that Quincy was able to enjoy a close relationship with her.

When Jones was 10 years old his family moved to Bremerton, Washington. The Seattle suburb was alive with World War II sailors on their way to the Pacific; the nightlife and its music were the backdrop for Quincy's early teens. Three years later he met a 15-year-old musician named Ray Charles. The two formed a combo and played in local clubs and weddings, and soon Jones was composing and arranging for the group. After high school and a scholarship at Boston's Berklee College of Music, Quincy was introduced to the life of a musician on the road, a road which started in New York and went around the world. He toured with Dizzy Gillespie in 1956, Lionel Hampton in 1957, and then made his base in Paris. He studied with Nadia Boulanger and Olivier Messiaen, was musical director at Barclay Disques, wrote for Harry Arnold's Swedish All-Stars in Stockholm, and directed the music for Harold Arlen's production "Free and Easy," which toured Europe for three months, ending in early 1960.

After a financially unsuccessful tour of the United States with a big band made up of 18 musicians from "Free and Easy," Jones served as musical director at Mercury Records in New York. He became the first African American executive in a white-owned record company in 1964 when he was promoted to vice-president at Mercury. At the company he produced albums, sat in on recording sessions with the orchestra, and wrote arrangements for artists at Mercury as well as other labels. Jones wrote for Sammy Davis, Jr., Andy Williams, Sarah Vaughan, Peggy Lee, and Aretha Franklin, as well as arranged and conducted It Might As Well Be Swing, an album featuring Frank Sinatra and the Count Basie Band.

In 1969 Jones signed a contract as a recording artist with Herb Alpert's A&M Records, and Quincy's first album with that label, Walking in Space, won a Grammy for best jazz instrumental album of 1969. Quincy Jones was later nominated for 67 Grammys, and had won 25 going into 1997.

His first foray into Hollywood - another crossing of a racial barrier - came when he composed the score for The Pawnbroker, a 1965 film by Sidney Lumet. Two films released in 1967 featured music by Jones: In Cold Blood and In the Heat of the Night. Both scores won enough votes to be nominated for Academy Awards. Jones was advised not to "compete with himself," so he went with In Cold Blood and it was the other film that ended up winning the Oscars. It didn't stop him from going on to write the music for over 52 films.

Television, as well, has featured the music of Quincy Jones, starting in 1971 with theme songs for "Ironside," "Sanford and Son," and "The Bill Cosby Show" (the first one). In 1973 Jones co-produced "Duke Ellington, We Love You Madly," a special for CBS, featuring Peggy Lee, Aretha Franklin, Count Basie, Joe Williams, Sarah Vaughan, and a 48-piece orchestra conducted by Jones. The special was a project of the Institute for Black American Music, a foundation formed by Jones, Isaac Hayes, Roberta Flack, and other musicians with the intention of promoting recognition of the African American contribution to American music. Jones also wrote the score for the widely acclaimed 1977 television mini-series "Roots."

Burned out from producing film score after film score, Jones stopped working for Hollywood in 1973 to explore his own pop music career as a vocalist. His singing debut was with Valerie Simpson on an album called You've Got It Bad, Girl. The title song from the album stayed at the top of the charts for most of the summer of 1973. Jones's next album was an even bigger hit. Body Heat, released in the summer of 1974, contained the hit songs "Soul Saga," "Everything Must Change," and "If I Ever Lose This Heaven." The album remained within the top five on the charts for over six months and sold over a million copies.

In 1974 Jones suffered two aneurysms two months apart. He nearly died, but after a six-month recuperation he was back at work, touring and recording with a 15-member band. Mellow Madness was the first album by the new band, which included songs by George and Louis Johnson, Otis Smith, and Stevie Wonder ("My Cherie Amour").

His 1980 album, The Dude, featured a host of talent directed by Jones, earned 12 Grammy nominations, and won five awards. At the same time The Dudewas released, Jones signed a deal with Warner Brothers Records creating his own label, Quest. It took Jones almost ten years to make his next album, Back on the Block. During that time he was focused on producing hit albums for other artists such as Donna Summer, Frank Sinatra, and James Ingram. In 1983 Michael Jackson recorded a Quincy Jones production, and at 40 million copies Thriller is still the best-selling album of all time. Quincy Jones also has the best-selling single of all time to his credit: the all-star choir on "We Are the World." Another triumph for Jones in the mid-1980s was his production of The Color Purple, the film adaptation of Alice Walker's novel, which featured the Oscar-nominated, debut film performance of Oprah Winfrey.

Jones's projects in the early 1990s included continuing work on an ongoing, mammoth project for which he'd been gathering material for decades, "The Evolution of Black Music." He was back in television, as well, with the Quincy Jones Entertainment Company producing the NBC situation comedy "Fresh Prince of Bel Air," as well as a weekly syndicated talk show hosted by Jones's friend the Rev. Jesse Jackson. Quincy Jones was also working on a film biography of the Black Russian poet Alexander Pushkin. The film was a co-production with Soviet filmmakers. Quincy Jones Broadcasting and Time Warner bought a New Orleans television station, WNOL, which Jones was to oversee.

The personal life of Quincy Jones was strained because of the pace of his professional endeavors. He was married and divorced three times (his latest wife was actress Peggy Lipton), and his six children have only recently been able to spend time with and come to know their father. The 1990 documentary "Listen Up: The Lives of Quincy Jones," produced by Courtney Sale Ross, contains poignant scenes in which Quincy confronts his difficult childhood, his mentally ill mother, and his strained past with his children. The film also contains testimonials from Frank Sinatra, Ella Fitzgerald, Michael Jackson, Miles Davis, Stephen Spielberg, Barbara Streisand, Oprah Winfrey, Ray Charles, Billy Eckstine, and others. They talk about an obsessed genius, a workaholic, and a man with a creative brilliance that has touched virtually every facet of popular entertainment since 1950.

In 1993 Jones announced that he was starting a magazine called Vibe. The magazine has been well received as an African American music journal. The album Jones released in 1995 was Q's Jook Joint. The album combined the talents of many of Quincy Jones's counterparts such as Stevie Wonder, Ray Charles, Sonny Bono and many others. The album was a celebration of his 50 years within the music industry. In 1996 Jones released an instrumental album entitled Cocktail Mix.

(From Answers.com)

sexta-feira, 22 de janeiro de 2010

Perez Prado and his Orchestra - Mambo Jambo

  1. Mambo Jambo (Que Rico El Mambo)
  2. Patricia
  3. Quizas, Quizas, Quizas (Perhaps, Perhaps, Perhaps)
  4. Always in My Heart
  5. Frenesi
  6. Taboo (Tabu)
  7. Alma Llanera
  8. Adios Mi Chaparrita
  9. Ay Ay Ay
  10. La Raspa
  11. You Belong to My Heart
  12. Adios Pampa Mia
  13. Mama Yo Quiero
  14. Aquellos Ojos Verdes (Green Eyes)
  15. Ruletero
  16. Caballo Negro
  17. Guaglione
  18. Isle of Capri
Mambo Jambo

quinta-feira, 21 de janeiro de 2010

Glenn Miller - The Jazz Masters - 100 anos de Swing

  1. American Patrol
  2. Chattanooga Choo Choo
  3. In the Mood
  4. Moonlight Serenade
  5. Tuxedo Junction
  6. Sunrise Serenade
  7. I've Got A Girl in Kalamazoo
  8. Pennsylvania 6-5000
  9. Music Makers
  10. Seven or Five
  11. Jeep Jockey Jump
  12. Danny Boy
  13. A String of Pearls
  14. Falling Leaves
  15. Over the Rainbow
  16. Serenade in Blue
  17. Sun Valley Jump
  18. My Love For You
  19. Lover
  20. Little Brown Jug
  21. Caribean Clipper
The Jazz Masters

terça-feira, 19 de janeiro de 2010

Tony Bennett - Jazz


  1. I Can't Believe That You're in Love With Me
  2. Don't Get Around Much Anymore
  3. Stella by Starlight
  4. On Green Dolphin Street
  5. Let's Face the Music and Dance
  6. I'm Thru With Love
  7. Solitude (Live)
  8. Lullaby of Broadway (Live)
  9. Dancing in the Dark
  10. I Let A Song Go Out of My Heart
  11. When Lights Are Low
  12. Just One of Those Things
  13. Crazy Rhythm
  14. Street of Dreams
  15. Love Scene
  16. While the Music Plays On
  17. Close Your Eyes
  18. Out of This World
  19. Just Friends
  20. Have You Met Miss Jones
  21. Danny Boy
  22. Sweet Lorraine

If you go back with Tony Bennett to the very beginning of his career, in the early 1950s, you remember a balladeer who rendered with near-operatic intensity a string of Top-10 hits, including the million sellers "Because of You", "Cold, Cold Heart", "Rags to Riches", and "Stranger in Paradise". If you are of my generation, raised on Elvis and the Beatles, you recall Tony Bennett as an anomalous crooner with a voice like raw silk, a penthouse serenader in a world of pent-up screamers, who glided onto the pop charts with "I Wanna Be Around", "The Good Life", "If I Ruled the World", "For Once in My Life", and, of course, his signature song, "I Left My Heart in San Francisco".

But Tony Bennett's heart has always been in jazz. Though he is not a jazz sing per se (no scatting or blues shouting or radical reshaping of the melody), Bennett, 60, has from the outset worked with some of the very best jazz players and arrangers. He is one of the few singers - perhaps the only one - who can claim to have been backed by the orchestras of Ellington, Basie, Woody Herman, Stan Kenton, and Buddy Rich; He's had charts written by Ralph Burns, Johnny Mandel, Neal Hefti, Quincy Jones and Gil Evans. His accompanists, as you will hear in this collection, have included Herbie Hancock, Stan Getz, Zoot Sims, Jo Jones, and Elvin Jones. On other occasions he has performed with Ruby Braff, Tommy Flanagan, and Harry "Sweets" Edison. And in the mid-1970s, he made two intimate and atmospheric albums with bill Evans, arguably the most influential jazz pianist of the past quarter-century.

Though many singers have recorded with the jazz greats, few are as knowledgeable and devoted to the music as Bennett. He can speak authoritatively about Miles Davis or John Coltrane or the brilliant Brazilian singer-songwriter Milton Nascimento; and when he is on tour, as he was in London last fall, he makes a point of visiting clubs like Ronnie Scott's, where he twice heard his friend Art Blakey (who is also heard in this anthology) leading his latest Jazz Messengers. More important, Bennett credits jazz with sustaining his career, with winning him a new and ardent audience once the hit singles stopped coming.

Like Miles Davis or Stan Getz or Bill Evans, Bennett's artistry is about lyricism and shading and soul - as these 22 selections memorably illustrate.

(James Isaacs, January, 1987)

segunda-feira, 18 de janeiro de 2010

A Grande Orquestra de Paul Mauriat - Volume 6

  1. Alouette (La Peregrinacion)
  2. Le Ruisseau de Mon Enfance
  3. Lady Madonna
  4. Honey (Tous les Arbres Sont en Fleurs)
  5. This Guy's in Love With You
  6. Après Tout
  7. Rain and Tears
  8. Eleanor Rigby
  9. Dis-moi Ce Qui Ne Va Pas
  10. Mrs. Robinson
  11. My House and the River (Ma Maison et La Rivière)
  12. Una Canzone

domingo, 17 de janeiro de 2010

Temas Inesquecíveis - Vol. 3 - VA

  1. Peter Gunn Theme - Ray Anthony
  2. Midnight Cowboy - Ferrante & Teicher
  3. Music Box Dancer - Bruno Carezza
  4. Hawaii 5-0 - The Film Studio Orchestra
  5. Lisbon Antigua - Nelson Riddle
  6. La Playa - Claude Ciari
  7. Sleepy Lagoon - Harry James
  8. Never on Sunday - Don Costa
  9. Lara's Theme (From Dr. Zhivago) - The London Studio Orchestra
  10. The Good, the Bad and the Ugly - Lauro Bonavento
  11. La Paloma - Billy Vaughn
  12. Sleepwalk - Santo & Johnny
  13. Riders in the Sky (A Cowboy Legend) - The Ghost Riders
  14. Let's Go - Floyd Cramer
  15. River Kwai - The Movie Sound Experience
  16. More (Ti Guardero Nel Cuore) - Kay Wending
Temas Inesquecíveis 3

Muito se valoriza o trabalho do letrista na música pop. Ele é sempre o "inteligente" e "culto", enquanto o melodista é visto como uma pessoa de talento instintivo. Na verdade, a primeira vez que um disco trouxe as letras impressas foi em 1967, com "Sgt. Pepper's Lonely Hearts Club Band", dos Beatles. Antes disso, a poética era um mero recurso sonoro da música jovem - vide clássicos como o "wop-bop-a-loop-bop" do sucesso "Tutti-Frutti", de Little Richard. A música instrumental (a popular, evidentemente) mantém o saudável hábito de valer-se da melodia para conquistar o ouvinte. E não há literatura capaz de emocionar mais do que "Tema de Lara" ou "Sleepwalk". Há estilos inteiros ancorados no instrumental, como a surf music dos The Routers ou a música incidental do cinema, que fez muito sucesso para além da tela grande, como mostra o tema do seriado "Peter Gunn" ou do filme "Perdidos na Noite".

(Extraído das notas originais do álbum)

sábado, 16 de janeiro de 2010

Temas Inesquecíveis - Vol. 2 - VA

  1. Bonanza - Al Caiola
  2. Baby Elephant Walk - Henry Mancini
  3. Theme from A Summer Place - Percy Faith
  4. Apache - The Shadows
  5. Autumn Leaves (Les Feuilles Mortes) - Roger Williams
  6. Twilight Time - The Three Suns
  7. M.A.S.H. Theme - Al De Lory
  8. Exodus Theme - Ferrante & Teicher
  9. A Fifth of Beethoven - Walter Murphy
  10. Tubular Bells - Mike Oldfield
  11. Flash - Princes of Maine
  12. The Rockford Files - Mike Post
  13. Only You - Franck Pourcel
  14. Petit Fleur - Chris Barber Jazz Band
  15. Besame Mucho - Ray Conniff
  16. Oh, Calcutta - Lawrence Welk
  17. The Happy Whistler - Don Robertson
Temas Inesquecíveis 2

A evolução da tecnologia e dos equipamentos de gravação tem relação direta com a evolução da música instrumental. Graças a ela é que Mike Oldfield conseguiu criar sua obra-prima, "Tubular Bells", tocandom todos os 28 instrumentos. Graças à boa manipulação da guitarra elétrica é que os Shadows ditaram os rumos do rock no início dos anos 60. Muito se discutiu sobre os privilégios da eletrônica sobre a criatividade na música, mas a verdade é que a tecnologia tem-se mostrado uma aliada poderosa para os que pretendem desdobrar a música em inúmeras vertentes. Assim como na música vocal, que mudou radicalmente com a criação do microfone (permitindo o surgimento de cantores de pequena voz), os efeitos sonoros serviram para expandir o alcnce de uma boa idéia musical. Claro que sempre haverá espaço para tradicionalistas, como Ray Conniff, o que só revela a versatilidade desses temas inesquecíveis.

(Extraído das notas originais do álbum)

sexta-feira, 15 de janeiro de 2010

Temas Inesquecíveis - Vol. 1 - VA

  1. Summer of '42 - Peter Nero
  2. Airport Love Theme - Vincent Bell
  3. Love is Blue - Paul Mauriat
  4. The Entertainer - Paul Gatsby
  5. The Man with the Golden Arm (Delilah Jones) - Billy May
  6. Patricia - Perez Prado
  7. Lonely - The Lovin' Spoonful
  8. Maria Elena - Los Indios Tabajaras
  9. Chariots of Fire - Vangelis
  10. Joy - One on One
  11. Tequila - The Champs
  12. A String of Pearls - Glenn Miller and His Orchestra
  13. A Time For Us (Love Theme from Romeo and Juliet) - Henry Mancini
  14. Samba Pa Ti - Santana
  15. I Was Kaiser Bill's Batman - Whistling Again
  16. The Magnificent Seven - Al Caiola
  17. I'm Walking - Duanne Eddy
Temas Inesquecíveis 1

Em 1940, quando Walt Disney lançou o clássico longa de animação "Fantasia", a crítica foi impiedosa. A tônica era sempre a mesma: não admitiam que alguém privasse o público de criar suas próprias imagens para clássicos da música universal. Disney estaria impondo uma concepção visual ao público, eliminando boa parte da graça. Hoje em dia, com o advento dos videoclipes, a afirmação pode soar anacrônica, mas não dá para negar a magia da música instrumental. É a canção em estado puro, capaz de nos levar para montanhas perigosas, para paisagens desoladas, capaz de nos fazer lembrar de um amor perdido ou de nossa mais tenra infância. Com um efeito sintetizado, a música nos transporta para os velhos e românticos jogos olímpicos; com um solo de guitarra em trêmulo, de repente estamos em um duelo no velho oeste; num rompante de Carlos Santana, a música latina é colocada ombro a ombro com os grandes momentos do movimento hippie. É a verdadeira magia desses temas inesquecíveis.

(Extraído das notas originais do álbum)

quarta-feira, 13 de janeiro de 2010

Ray Conniff - Especial Ao vivo

  1. Halleluja
  2. La Mer
  3. Smoke Gets in Your Eyes
  4. 'S Wonderful
  5. Chattanooga Choo Choo
  6. An Improvisation on Schubert's "Serenade"
  7. An Improvisation on Chopin's "Nocturne in E-Flat" (Piano Solo by John Guarnieri)
  8. Say Has Anybody Seen My Sweet Gypsy Rose
  9. Somewhere, My Love (Lara's Theme from "Dr. Zhivago")
  10. Memories Are Made of This
  11. Emotion / How Deep is Your Love
  12. Mame
  13. Tie A Yellow Ribbon Round the Ole Oak Tree
  14. Mack the Knife (Moritat) A Theme from "The Threepenny Opera"
Especial Ao Vivo

terça-feira, 12 de janeiro de 2010

The Most Beautiful Melodies of the Century - You Are So Beautiful - VA

  1. Cheek to Cheek - Ken Thorne and His Orchestra
  2. Close to You - Joe Reisman and His Orchestra & Choir
  3. You Are So Beautiful - Floyd Cramer
  4. You've Got A Friend - Romantic Strings
  5. Begin the Beguine - Romantic Strings
  6. Bewitched - Richard Alden, His Piano & Orchestra
  7. The Girl from Ipanema - Roger Williams
  8. (A Time For Us) Love Theme from "Romeo and Juliet" - Henry Mancini
  9. Quiet Nights of Quiet Stars - Paul Weston Orchestra with Jo Stafford
  10. Falling in Love With Love - Romantic Strings
  11. Yesterday - Romantic Strings
  12. Theme from "M*A*S*H" - Romantic Strings
You Are So Beautiful

segunda-feira, 11 de janeiro de 2010

The Four Freshmen - Four Freshmen and 5 trombones

  1. Angel Eyes
  2. Love Is Just around the Corner
  3. Mam'selle
  4. Speak Low
  5. The Last Time I Saw Paris
  6. Somebody Loves Me
  7. You Stepped Out of a Dream
  8. I Remember You
  9. Love
  10. Our Love Is Here to Stay
  11. You Made Me Love You (I Didn't Want to Do It)
  12. Guilty
And 5 Trombones

The Four Freshmen is a multiple Grammy-nominated American male vocal band quartet that blends open-harmony jazz arrangements with the big band vocal group sounds of The Modernaires (Glenn Miller), The Pied Pipers (Tommy Dorsey), and The Mel-Tones (Artie Shaw), founded in the barbershop tradition. The Four Freshmen is considered a vocal band because, in addition to singing, it accompanies itself on guitar, trumpet, bass, and drums, among other instrumental configurations.

During 61 years of performance (1948–present), The Four Freshmen recorded 49 albums, CDs, and DVDs. Some of the most requested songs follow: "Its a Blue World", "Day In, Day Out", "Skylark", "You've Got Me Cryin' Again", "Angel Eyes", "After You've Gone", "Invitation", "Poinciana", "Mam'selle", "Route 66", "Day by Day", "Laura", "That Old Feeling", "Young and Foolish", "You Stepped Out of a Dream", "Mood Indigo", "Tell Her I Love Her", "Please Remember", "September Song", "Early Autumn", "My One and Only Love", "It's All Right with Me", "Something's Gotta Give", "You've Changed", "If I Had You", "Indian Summer", "Simple Life", "Easy Street", "Rain", "Crazy Bones", "There Will Never Be Another You", "Love Lost", "How Can I Tell Her", "I Wish I Knew", "Walkin' My Baby Back Home", "Little Girl Blue", "Time Was", "Goodbye", "It Could Happen to You", "I Could Have Told You", "More Love", "Where Do You Start", "You Call It Madness, I Call It Love", "How Do You Keep the Music Playing?", "The Day Isn't Long Enough", "We'll Be Together Again", "In This Whole Wide World", and "And So It's Over".

The group tours internationally to sold-out audiences and records popular standards flavored with jazz harmonies since its late '40s founding in the halls of the Jordan School of Music at Butler University (Indianapolis), thanks to a series of incarnations.

The Four Freshmen influenced many vocal groups. These groups include from the beginning — The Hi-Lo's, The Hilltoppers, and Lambert, Hendricks & Ross — to later on — The Lettermen, The Four Preps, The Skyliners, Spanky and Our Gang, The Mamas & the Papas, The Association, The Four Seasons, ABBA, The Swingle Singers, Take 6, New York Voices, The Manhattan Transfer, and The Bobs. In his autobiography, Brian Wilson attributes the success of the Beach Boys' initial sound to the harmonic chord choices found in Four Freshmen arrangements. In concert, the Beach Boys honors the Four Freshmen verbally and illustrates the Four Freshmen's voicing with an a cappella version of its hit, "In My Room".

Ross Barbour, a founding Freshmen and author of the group's biography, Now You Know: The Story of the Four Freshmen, explained several of the technical aspects of "The Four Freshmen sound."

In early 1948, brothers Ross and Don Barbour, then at Butler University's Arthur Jordan Conservatory in Indianapolis, Indiana, formed a barbershop quartet called Hal's Harmonizers. The Harmonizers also included Marvin Pruitt — soon replaced by Ross and Don's cousin Bob Flanigan — and Hal Kratzsch (1925–70), replaced in 1953 by Ken Errair. The quartet soon adopted a more jazz-oriented repertoire and renamed itself the Toppers. At first, they were influenced by Glenn Miller's The Modernaires and Mel Tormé's Mel-Tones, but soon developed their own style of improvised vocal harmony. In September 1948, the quartet went on the road as The Four Freshmen, and soon drew the admiration of jazz legends such as Dizzy Gillespie and Woody Herman.

In 1950, The Four Freshmen got a break when band leader Stan Kenton heard the quartet in Dayton, Ohio, and arranged for an audition with his label, Capitol Records, which signed The Four later that year. In 1952, they released their first hit single "It's a Blue World". Further hits included "Mood Indigo" in 1954, "Day by Day" in 1955, and "Graduation Day" in 1956.

The Four Freshmen won Best Vocal Group of the Year in Down Beat magazine's Readers' Polls in 1953, 1954, 1955, 1956, 1958, 2000, and 2001.

From Wikipedia, the free encyclopedia

domingo, 10 de janeiro de 2010

Peggy Lee - Guitars A Là Lee

  1. Nice 'N' Easy
  2. Strangers in the Night
  3. Mohair Sam
  4. Goodbye My Love
  5. Think Beautiful
  6. An Empty Glass
  7. Good Times
  8. Sweet Happy Life
  9. Touch the Earth
  10. Beautiful, Beautiful World
  11. My Guitar
  12. Call Me
Guitars A là Lee
Peggy Lee's alluring tone, distinctive delivery, breadth of material, and ability to write many of her own songs made her one of the most captivating artists of the vocal era, from her breakthrough on the Benny Goodman hit "Why Don't You Do Right" to her many solo successes, singles including "Mañana," "Lover" and "Fever" that showed her bewitching vocal power, a balance between sultry swing and impeccable musicianship.

Born Norma Egstrom in Jamestown, North Dakota, she suffered the death of her mother at the age of four and endured a difficult stepmother after her father remarried. Given her sense of swing by listening to Count Basie on the radio, she taught herself to sing and made her radio debut at the age of 14. She made the jump to Fargo (where she was christened Peggy Lee), then to Minneapolis and St. Louis to sing with a regional band. Lee twice journeyed to Hollywood to make her fortune, but returned unsuccessful from both trips.

She finally got her big break in 1941, when a vocal group she worked with began appearing at a club in Chicago. While there, she was heard by Benny Goodman, whose regular vocalist Helen Forrest was about to leave his band. Lee recorded with Goodman just a few days later, debuting with the popular "Elmer's Tune" despite a good deal of nerves. That same year, several songs became commercial successes including "I Got It Bad (And That Ain't Good)" and "Winter Weather." In 1943, "Why Don't You Do Right" became her first major hit, but she left the Goodman band (and the music industry altogether) later that year after marrying Goodman's guitarist, Dave Barbour.

After just over a year of domestic life, Peggy Lee returned to music, first as part of an all-star jazz album. Then, in late 1945, Capitol signed her to a solo contract and she hit the charts with her first shot, "Waitin' for the Train to Come In." Lee continued to score during the late '40s, with over two dozen chart entries before the end of the decade, including "It's a Good Day," "Mañana (Is Soon Enough for Me)" -- the most popular song of 1948 -- and "I Don't Know Enough About You." Many of her singles were done in conjunction with Barbour, her frequent writing and recording partner.

After moving to Decca in 1952, Peggy Lee scored with the single "Lover" and an LP, Songs From Pete Kelly's Blues recorded with Ella Fitzgerald (both singers also made appearances in the film). She spent only five years at Decca however, before moving back to Capitol. There, she distinguished herself through recording a wide variety of material, including songs -- and occasionally, entire LPs -- influenced by the blues, Latin and cabaret as well as pop. Lee also used many different settings, like an orchestra conducted by none other than Frank Sinatra for 1957's The Man I Love, the George Shearing Quintet for 1959's live appearance Beauty and the Beat, Quincey Jones as arranger and conductor for 1961's If You Go, and arrangements by Benny Carter on 1963's Mink Jazz. Barbour's problems with alcoholism ended their marriage, though they remained good friends until his death in 1965.

Peggy Lee was an early advocate of rock and made a quick transition into rock-oriented material. Given her depth and open mind for great songs no matter the source, it wasn't much of a surprise that she sounded quite comfortable covering the more song-oriented end of late-'60s rock, including great choices by Jimmy Webb, Buffy Sainte-Marie, Burt Bacharach, Randy Newman, Goffin & King and John Sebastian. She nearly brushed the Top Ten in 1969 with Leiber & Stoller's "Is That All There Is?" She continued recording contemporary material until 1972's Norma Deloris Egstrom From Jamestown, North Dakota brought her back to her roots. It was her last LP for Capitol, however. Lee recorded single LPs for Atlantic, A&M, Polydor UK and DRG before effectively retiring at the beginning of the 1980s. She returned in 1988 with two LPs for Music Masters that revisited her earlier successes. Her last album, Moments Like This, was recorded in 1992 for Chesky. Her voice was effectively silenced after a 1998 stroke, and she died of a heart attack at her Bel Air home in early 2002.

John Bush, All Music Guide

sábado, 9 de janeiro de 2010

Billy Vaughn - Orchestral - The 20th Century Music Collection

  1. Look For A Star
  2. Wheels
  3. Wonderland by Night
  4. Love Letters in the Sand
  5. Come September
  6. Blue Hawaii
  7. Harbor Lights
  8. Theme from A Summer Place
  9. Auld Lang Syne
  10. Stranger On the Shore
  11. Sail Along Silvery Moon
  12. Rhythm of the Rain
  13. Hawaiian Wedding Song
  14. Red Sails in the Sunset
Orchestral

Billy Vaughn está entre os artistas instrumentais de mais sucesso dos anos 50, um homem que nunca ouviu uma canção que ele não tenha tocado.

Billy nasceu em 12 de abril de 1931 em Glasgow, Kentucky (USA). Como Les Baxter, Vaughn começou como vocalista, liderando um grupo chamado 'The Hilltoppers' e teve uma série de hits ao longo dos anos 50, sendo o mais famoso uma regravação de "Marianne", de Terry Gilkyson, em 1957. Em meados daquela década se tornou diretor musical da Dot Records, que se especializaram em regravações. Ele conduziu sua orquestra fazendo versões 'brancas' dos sucessos de 'rhythm & blues' negros como "Hearts of Stone (The Charms)" com as Fontane Sisters, "I Hear You Knocking (Fats Domino)" com Gale Storm, os inúmeros hits de Pat Boone e muitos outros artistas. Entre 1954 e 1968, Vaughn gravou mais de 25 álbuns e muitas de suas versões venderam mais que as gravações originais. Ele também lançou um EP com uma releitura de "Shifting, Whispering Sands" com narração de Ken Nordine.

Como a popularidade de Vaughn enfraquecia nos EUA e crescia na Alemanha e Japão, ele levou sua orquestra em excursões a cada um desses países por várias vezes.

Billy Vaughn morreu em 26 de setembro de 1991 em Escondido, na California.

(Valdmir D'Angelo, extraído das notas originais)

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