domingo, 28 de fevereiro de 2010

Orquestra Brasileira de Espetáculos - Brilhantes

  1. Detalhes
  2. Quando
  3. Sentado à Beira do Caminho
  4. Quero que Vá Tudo pro Inferno
  5. Além do Horizonte
  6. A Distância...
  7. Amada, Amante
  8. A Montanha
  9. O Homem
  10. Como é Grande o Meu Amor por Você
  11. Se Você Pensa
  12. O Portão
  13. Debaixo dos Caracóis dos Seus Cabelos
  14. O Show já Terminou
Brilhantes

sábado, 27 de fevereiro de 2010

Dean Martin - The Best of Dean Martin

  1. Memories Are Made of This
  2. That's Amore
  3. Return to Me
  4. Standing On the Corner
  5. You Belong to Me
  6. You're Nobody 'Til somebody Loves You
  7. Sway
  8. Innamorata
  9. Volare
  10. Angel Baby
  11. On An Evening In Roma
  12. I'll Always Love You
American entertainer Dean Martin (1917 - 1995) was known for his nonchalant style and breezy wit. Immensely popular in his time, he first became famous as the straight man of the comic duo Martin and Lewis in 1946.

Martin also recorded hit records in his distinctive baritone, starred in motion pictures, and had his own long-running television program. But any snapshot of the multi-talented Martin would be incomplete without mention of his legendary affiliation with Hollywood's Rat Pack and his ever-present, if somewhat exaggerated, cocktail personae.

Early Years

Martin was born Dino Paul Crocetti on June 7, 1917, in Steubenville, Ohio. His parents, Angela and Gaetano (a barber), had emigrated from southern Italy around the turn of the nineteenth century and the young Martin reputedly spoke only Italian until he was five years old. Steubenville was a tough town in those days, known as "Little Chicago" because of its affinity for gambling and other assorted vices, and Martin was not immune to the influences of his environment. He dropped out of high school at 16 and worked for a while as a liquor runner for bootleggers. But even this somewhat less than auspicious beginning could not hide his early tendency to perform. "He was a comedian," Martin's childhood friend Mario Camerlengo told John Soeder of the Houston Chronicle. "He always disturbed the class. When the teacher would say, 'Dino, you'll have to leave,' he'd hit me on the head as he shuffled out."

After his stint running booze, Martin tried his hand at amateur boxing under the name "Kid Crochet." That pursuit did not last long, as, according to Rob Parker of the London Observer, Martin often recalled in later years, "I won all but 11 of my 12 fights." He went on to work variously as a shoeshine boy, gas station attendant, steel mill laborer, and croupier before striking out to make his name as a singer.

Although blessed with a smooth baritone voice, Martin's early career as a singer progressed slowly. He sang with club bands around the Midwest, and made his coast-to-coast radio debut on Cleveland's WTAM (AM) in 1942, but failed to cause much of a stir at first. Bing Crosby's renowned crooning was imitated by most young singers of the day, and Martin was no exception. J.D. Reed of People quoted Martin as saying, "I copied Bing until I had a style of my own." In the 1940s the emulation of his idol accorded Martin sufficient success to make him a regular at New York City nightclubs and on radio, but it was a fateful pairing in nearby Atlantic City, New Jersey, that rocketed him to fame.

Martin and Lewis

In 1946 Martin was booked for a six-week engagement at Atlantic City's 500 Club. A wacky young comedian named Jerry Lewis was also working there, and kismet struck when the illness of another performer put the pair on the same bill. Martin's mildly bemused and effortlessly elegant straight man combined with the wildly frenzied antics of Lewis to become an instant hit with audiences, and formed the basis of a tremendously popular partnership that would last ten years. Indeed, half a century later comedian Alan King told Reed, "I've been around 50 years, and no one ever created the kind of pandemonium they did."

The duo's success led them to the Copacabana in New York, where they gained top billing and the then-princely salary of $5,000 a week. Two years later they conquered the West Coast at Slapsie Maxie Rosenbloom's nightclub in Beverly Hills, and a movie deal with Paramount Pictures soon followed. Martin and Lewis made sixteen films together, starting with 1949's My Friend Irma and ending with Hollywood or Bust in 1956. In between were such crowd pleasers as At War with the Army (1950), The Caddy (1953), and Living It Up (1954). The Caddy was also notable because it clearly established Martin's singing credentials, generating the top ten solo effort and Oscar-nominated hit That's Amore.

Despite one of the most successful partnerships in the history of show business and the resulting fortunes made by both members, Martin and Lewis had a mercurial relationship. Temperamentally disparate, the two had little in common off the screen and stage, and the ongoing volatility reportedly became wearing for Martin. In 1956 things came to a head, and the pair parted company. Few expected Martin's career to survive, but the kid from Steubenville surprised them all.

The Rat Pack

Martin's detractors were hardly shocked when Martin's first solo movie effort, Ten Thousand Bedrooms, was a resounding flop in 1957. They were taken aback, however, when 1958's The Young Lions showcased a heretofore unsuspected dramatic talent in Martin. He followed that up with a critically-acclaimed performance with John Wayne in Rio Bravo and another with Frank Sinatra and Shirley MacLaine in Some Came Running. Thus having beaten the odds and demonstrated his merit as a serious actor, Martin stood ready to reinvent himself yet again.

Martin's newest personae took shape as he aligned himself with an offshoot of a group originated by Humphrey Bogart. By the late 1950s the clan had morphed into Sinatra's infamous "Rat Pack," and Martin was installed as second in command. The core of the Pack consisted of Sinatra, Martin, Sammy Davis Jr., Peter Lawford, and Joey Bishop; and as they performed together in movies and, most notoriously, Las Vegas, they came to epitomize an irreverent style of hip sophistication that defined the early 1960s. Amidst all that panache, no one was more urbane, laid back, or surpassingly cool than Martin. Tuxedo-clad, cigarette in one hand and cocktail in the other, Martin's latest role was that of a debonair boozer with a nonchalant wit.

The Rat Pack's slightly risqué focus on sex, liquor, and general carousing made Las Vegas their natural playground. Gambling, drinking, and womanizing were the order of the day (and night); but the group worked hard as well, and their casino nightclub act was hugely popular. While some tongues may have wagged at the level of excess, nobody doubted that Sinatra and his boys were having a great time. As Martin's old friend, actor Debbie Reynolds, told Reed, "A lot of people wished they could have a third as much fun as [the Pack] did." Martin, dubbed the "Clown Prince" of the clan, expressed his satisfaction in a typically offhand manner at a Rat Pack tour press conference by saying, according to Newsweek's Karen Schoemer, "We're happy to be doing this thing. What the hell."

Top Talent Across Media

Martin's association with the Rat Pack did not hamper his solo career. He continued to record as a singer, producing his first number one hit, Memories Are Made Of This, in 1955. He famously repeated that achievement in 1964, when he bumped The Beatles out of the top spot with his recording of Everybody Loves Somebody. According to Schoemer, Martin was spurred to such a feat by frustration with his son's non-stop admiration of the British pop sensation, and reportedly said, "I'm gonna knock your little pallies off the charts." By the end of his recording career, 40 of Martin's singles had hit the charts, including seven in the top ten. He also recorded 11 gold albums.

Martin also made his mark on television. The year 1965 saw the debut of The Dean Martin Show, a variety program that lasted nine years on NBC. The show was such a success that Martin was able to negotiate a lucrative contract that was the largest of its time and earned him a place in the Guinness Book of World Records as the highest paid entertainer of his day.

Nor did Martin neglect the silver screen, although his later reviews never quite equaled those of his early work. His vehicles ranged from light comedy to westerns, including his only musical, 1960's Bells Are Ringing, Kiss Me, Stupid in 1964, Rough Night in Jericho in 1967, and Airport in 1970. He also made four Matt Helm films, which were send-ups of James Bond, in the 1960s. In short, Martin had proved himself a major talent across a variety of venues during the course of his career.

Fade Out and Reprise

With time, Martin began to fade slowly out of the limelight and appeared content to do so on his own terms. His last movie was 1984's kitschy Cannonball Run II. In 1988 he bowed out of a Rat Pack reunion tour after only a short time on the job. Sometime before that, he had stopped making records. He also declined to take part in a 1992 retrospective on Martin and Lewis with his old comedy partner. Instead, Martin played his beloved golf and contented himself with solitary dinners at a favorite Italian restaurant in Beverly Hills.

Part of the self-imposed isolation of Martin's later years was undoubtedly a reflection of his basically solitary personality. He was never much for talking or taking things too seriously. As his son Ricci told Reed, "He joked that it wasn't the chat that bothered him, it was the chit." And director Richard Corliss of Time quoted Vincente Minnelli as saying, "Dean would rather die than have you believed he cared." But care he did, and that caring was widely thought to play a large part in his withdrawal.

Martin had married and divorced three times by 1976, and had fathered seven children. One of those children, Dean Paul Martin (known as Dino Jr.), was tragically killed in a plane crash during a California Air National Guard training mission in 1987, at the age of 35. That tragedy, coupled with the losses of such old friends as his assistant Mack Gray and the Rat Pack's Davis, pierced the studied nonchalance of the aging performer and almost surely contributed to his increasing reclusiveness. Martin's storied drinking, once mainly a stage prop of apple juice, escalated in earnest and he moved further into the very mystique that had made him a star. When he died on Christmas Day in 1995, Martin had long been out of the public eye.

The public remembered Martin nonetheless. As late as 2004, Capitol Records released a compilation called Dino: The Essential Dean Martin, which soared to number 28 on the Billboard 200 chart and became one of iTunes' Top Five Digital Downloads. Musician and actor Steven Van Zandt described his appeal in the liner notes for the CD, as quoted by Soeder: "Dino represented a traditional style that would prove to be timeless…. He was the coolest dude I'd ever seen, period." As Martin might have said, "No question about it, pally."

(From Answers.com)

sexta-feira, 26 de fevereiro de 2010

Billy Vaughn and His Orchestra - Sweet Music and Memories...

  1. Melody of Love
  2. Joyride
  3. Silver Moon
  4. Baby O' Mine
  5. The Waltz You Saved For Me
  6. Billy Vaughn's Boogie
  7. Missouri Waltz
  8. Lovely You
  9. Tennessee Waltz
  10. Naughty Annetta
  11. Drifting On A Cloud
  12. Morning, Noon and Night
Sweet Music

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

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

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

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

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

quinta-feira, 25 de fevereiro de 2010

101 Strings - Play a Tribute to The Beatles

  1. A Hard Day's Night
  2. Penny Lane
  3. Yesterday
  4. She Loves You
  5. All You Need Is Love
  6. I Want to Hold Your Hand
  7. Eleanor Rigby
  8. Hey Jude
  9. Lucy in the Sky with Diamonds
  10. Michelle
The lush magnificense and stereo/digital depth of the "101 Strings" is due to a combination of factors. First, in importance, is the concept of scoring for the strings. The necessity of using very large sections of string instruments is to utilize various harmonies and voicing and not weaken the dynamics or quality of any one line when playing counter lines. This is particularly important with violins and violas, and creates a wonderful rich channel separation for stereo/digital recording. The listener will note that at times the melody line is in full presence, and possibly a full and lovely counter line is being played, without sacrificing the full dynamic value of either. Second, the original performances have been recorded under the most exacting audio engineering standards with specially designed microphones with characteristics to compensate for any possible distortion from the tremendous bass frequency response in cello and string bass. Third, and of extreme importance, are the players themselves. They represent the finest musicians in Europe today - digitally mastered to perfection. Enjoy...


(From the original liner notes)

Play The Beatles

quarta-feira, 24 de fevereiro de 2010

Frank Sinatra - I've Got A Crush On You

  1. A Lovely Way to Spend An Evening
  2. Embraceable You
  3. All The Things You Are
  4. They Say It's Wonderful
  5. How Deep Is the Ocean (How Blue Is the Sky)
  6. Time After Time
  7. Always
  8. But Beautiful
  9. The Song Is You
  10. Fools Rush In
  11. I've Got A Crush On You
  12. I'm Glad There Is You
  13. Love Me
  14. Why Try to Change Me Now
Berlin. Porter. Gershwin. Sinatra! They say that falling in love is wonderful...And that sentiment is perfectly expressed in this new collection of Frank sinatra ballads, offering 14 incredibly romantic ways to say "I Love You".

Long considered the ultimate crooner, this tender collection brings forth all of Sinatra's warmth and feelings of love, with definitive renditions of some of the most exquisite love songs ever written.

This new collection, features fourteen examples of the most enduring signature songs of Frank Sinatra's early recording career. It offers us priceless examples of the dedication and integrity that have always been hallmarks of Sinatra as a true artist. What could be more gently affectionate than his version of "Always", written by Irving Berlin in 1925 as a wedding present for his wife? Or as soft and introspective as his stunning treatment of the Burke and Van Heusen gem "But Beautiful?". Whether attempting to translate the joy and elation of a blossoming romance ("They Say It's Wonderful") or singing of pure desire ("Love Me"), Sinatra's approach hits the mark each and every time. And throughout, the classically influenced arrangements of Axel Stordahl, in their own right miniature jewels, complement the vocalist without a hint of intrusion.

Sentimental and affectionate? Sure! Trite and overdone? Not on your life! This is the gentlest Sinatra you may ever hear - songs from his past that are as fresh and current as the day they were recorded; songs from a time when Sinatra became known as "The Voice" - OUR voice.

In the final mselection, Cy Coleman and Allan McCarthy's plaintive confessional "Why Try to Change Me Now?", Sinatra makes a clear statement: "Don't you remember, I was always your clown...Why try to change me now?" Change Sinatra? Or his way with a love song? You've gotta be kidding!

(Roy Hemming and Charles Granata, from original album notes)

terça-feira, 23 de fevereiro de 2010

Holiday For Strings - Various Artists

  1. Charmaine - Mantovani
  2. Born Free - John Barry
  3. My Foolish Heart - Frank DeVol
  4. Belle of the Ball - Leroy Anderson
  5. Star Dust - Norrie Paramor
  6. Danube Waves - Franck Pourcel
  7. Spellbound - Miklos Rozsa
  8. When the White Lilacs Bloom Again - Helmut Zacharias
  9. For All We Know - Jackie Gleason
  10. The Poor People of Paris - Les Baxter
  11. Three Coins in the Fountain - Felix Slatkin
  12. Beautiful Dreamer - Carmen Dragon
  13. Ruby - Gordon Jenkins
  14. East of the Sun - Nelson Riddle
  15. I Say A Little Prayer - Ron Goodwin
  16. Musetta's Waltz - Camarata
  17. The Donkey Serenade - Pittsburgh Strings
  18. You'll Never Know - Knightsbridge Strings
  19. Never On Sunday - Don Costa
  20. Ebb Tide - Frank Chacksfield
Disc One        
  1. Green Leaves of Summer - Johnny Douglas
  2. Jalousie - Boston Pops Orchestra with Arthur Fiedler, conductor
  3. Too Young - The Melachrino Strings
  4. Serenade - Morton Gould
  5. Smoke Gets in Your Eyes - Paul Weston
  6. True Love - Living Strings
  7. My Reverie - Enoch Light
  8. Tara's Theme - Max Steiner
  9. Puppet On A String - Paul Mauriat
  10. Londonderry Air - Robert Farnon
  11. Cara Mia - 101 Strings Orchestra
  12. Holiday For Strings - David Rose
  13. Invitation - Hugo Winterhalter
  14. I'm Always Chasing Rainbows - Andre Kostelanetz
  15. By the Light of Your Eyes - Warren Barker
  16. They Didn't Believe Me - Hill Bowen
  17. Swedish Rhapsody - Percy Faith
  18. Who Can I Turn to - Violins of Villafontana
  19. Around the World - Victor Young
  20. Aloha Oe - Leo Addeo
Disc Two

domingo, 21 de fevereiro de 2010

Nat King Cole - Coleção Folha clássicos do jazz

  1. Ballerina
  2. Funny (Not Much)
  3. The Continental
  4. I Wish You Love
  5. You Leave Me Breathless
  6. Thou Swell
  7. My Kinda Love
  8. The Surrey with the Fringe on Top
  9. Where or When
  10. Miss Otis Regrets
  11. Joe Turner Blues
  12. Mr. Cole Won't Rock and Roll
  13. In A Mellow Tune
  14. Whatcha' Gonna Do
Clássicos do Jazz
He was not just a singer of popular successes, but also a great jazz musician. His elegant style and velvet voice influenced artists as diverse as Oscar Peterson, Diana Krall, Chuck Berry, Ray Charles and Otis Redding.

Nathaniel Adams Coles was born on March 17, 1917 (some sources record 1919) in Montgomery, Alabama. The family was poor, but musical. As a child, he learned to play piano with his mother. His first recordings in 36 were in the group of his brother Eddie, bass (another brother, Freddy, is today a renowned singer).

The following year, he formed the King Cole Trio with guitarist Oscar Moore and bassist Wesley Prince (later replaced). With this group without drums and singing since he started in 39 to record their first successes. In rapid ascent, reached twice the top of the Billboard rhythm and blues at 43, with "That Is not Right" and "All for You". At 46, "(I Love You) For Sentimental Reasons" was number one on the pop chart, and his first LP, "The King Cole Trio".

With nearly 80 hit songs from that period until the 60th, he feuded with Frank Sinatra, something unusual for a black artist in a time of racial discrimination. Cole was the first black to have a weekly program on American television and made several films as "St. Louis Blues" and "Blue Gardenia".

In 50 was her daughter Natalie, who also became a successful singer. On February 15, 65, Nat died of lung cancer in Santa Monica, California.

(Helton Ribeiro, from original album notes)

sábado, 20 de fevereiro de 2010

Dave Brubeck - Koto Song

  1. Tritonis
  2. Koto Song
  3. Improvisation
  4. Big Bad Basie
  5. (What Did I Do to Be So) Black and Blue
  6. Take Five
  7. Benjamin Christopher David Brubeck
  8. Blue Rondo a La Turk
Koto Song
         Musicians:
         Chris Brubeck - Bass
         Dave Brubeck - Piano
         Randy Jones - Drums
         Bill Smith - Clarinet

         Recorded in Montreux, Switzerland
         July 22, 1982

Dave Brubeck (born 1920), who is considered the most widely acclaimed jazz musician of his time period, has been described as everything from mystical to methodical.

According to Robert Rice of the New Yorker, the combo led by jazz pianist Dave Brubeck during the 1950s and 1960s was "the world's best-paid, most widely travelled, most highly publicized, and most popular small group." While Brubeck can be considered the world's most widely acclaimed musician of his period, he is also quite possibly its most criticized, having been described as everything from mystical to methodical. Stanley H. White wrote in Jazz Journal in 1958 that Brubeck's "ability to improvise fluently on almost any given theme, and his ability to swing with both drive and imagination make him a jazz musician of singular merit"; two years later Joe Goldberg declared in Jazz Review "that jazz is not [Brubeck's] natural form of expression, but he is determined to play jazz, as if a man who knew five hundred words of French were to attempt a novel in that language."

Perhaps Rice's statement on the importance of Brubeck's music, that "it is impossible to make a comment - pro, con, or merely factual - that would not be disputed by a majority of the people who habitually play, listen to, or write about jazz," sums up the critical commentary that surrounds Brubeck's body of work. What can be asserted is that Brubeck, beyond the praise and fault-finding, beyond even the unexamined end result of his music, has always been an intelligent musician thoughtful of the process, an artist constantly seeking a new and justifiable means of creative expression.

"Perhaps the most significant contribution made by the Brubeck Quartet has been the integration of jazz and classical elements," Al Zeiger noted in Metronome. But Brubeck's precarious marriage of these two divergent styles has frequently offended stylists and aficionados of the pure jazz form. "He cannot always maintain the balance between jazz and classical music without forsaking an element vital to either one form," White appraised in Jazz Journal. More often than not, Brubeck's improvisations slip from jazz into classical colors, bringing up "a little canon a la Bach or some dissonant counterpoint a la Bartok or even a thrashing crisis a la Beethoven," a reporter for Time pointed out.

Brubeck's tendency toward peppering his jazz speech with classical tones is rooted in his childhood. His mother, a classically trained piano teacher, was a believer in prenatal influence. "She practiced all through her pregnancies," Brubeck related, according to Len Lyons in The Great Jazz Pianists: Speaking of Their Lives and Music. "When we were born, we were all put near the piano to listen to her practicing. I heard Chopin, Liszt, Mozart, and Bach from infancy." While his brothers took to classical training, Brubeck rebelled against his mother's teachings, preferring instead to make up his own songs. "There can be little doubt that his original interest in jazz arose as a protest against the idea of playing notes that were written on paper instead of the notes that were in his head," Rice wrote in the New Yorker. It is noteworthy that Brubeck did not learn to read music until later in life. Because of his acute musical ear, he was able to fool his mother by reproducing any piece after listening to it once or twice.

Despite Brubeck's early protestations, classical music informed his subsequent musical approach. He attested to this in an article he wrote for Down Beat at the beginning of his career: "Because the jazz musician creates music, interprets music as he hears it, it is natural that his improvised compositions should reflect every kind of music to which he has been exposed." Further exposure to the classical realm came through studies with the French composer Darius Milhaud.

After graduating with a degree in music and serving in the U.S. Army during World War II, Brubeck studied composition under Milhaud at Mills College for three years. From this classical instructor, Brubeck learned one important point about composing, as he explained to Michael Bourne in Down Beat: "One lesson was never give up jazz. And he told me I would be a composer on my own terms…. He said, 'If you don't reflect your own country and use the jazz idiom, you'll never be a part of this culture.' And, of course, Copland used it, Bernstein used it. Most of the important American composers have used jazz." But it seems that jazz was just a tool used to build his compositions, for in addition, Brubeck learned from Milhaud the usage of modern European polytonal harmonies on which he was to base his style.

After his apprenticeship under Milhaud, Brubeck sought a group sound for his compositions in 1949, first with an octet, then pared down to a trio. He also helped form Fantasy Records, the label on which he first recorded. But his definition of jazz - "an improvised musical expression based on European harmony and African rhythms," as he described it in Down Beat - was not fulfilled until Brubeck added alto saxophonist Paul Desmond to the group in 1951. "Desmond's yearning lyricism proved the perfect foil for Brubeck's percussive approach," Amy Duncan pointed out in the Christian Science Monitor. Another indication of Brubeck's keen judgement was his decision at the time to forego the night club circuit in favor of college campuses. The 1954 recording of one such tour, Jazz Goes to College, was the quartet's breakthrough, selling over a million copies and earning Brubeck the cover of Time's November 8, 1954, issue.

In Time's accompanying profile Brubeck was described as "a wigging cat with a far-out wail" who produces "some of the strangest and loveliest music ever played since jazz was born." His music and approach, which the article proclaimed heralded a new jazz age, "is neither chaotic nor abandoned. It evokes neither swinging hips nor hip flasks. It goes to the head and the heart more than to the feet."

But accompanying the rising acclaim was also rising derision. The debate over the purpose and sound of jazz divided the critical camps. Metronome's Zeiger lauded Brubeck's technique: "his texture has a refinement and lightness to it which, at times, is characteristic of the grace and elegance of Mozart"; but Jazz Journal's White stressed that "the unavoidable lack of beat, the absence of the jazz spirit - these indispensable jazz attributes - bring defeat to an otherwise highly intelligent and musicianly artist." Dave Gelly, writing in his book The Giants of Jazz, summed up the reasons for critical disapproval: "Brubeck's studious manner, his copious references to Milhaud and Hindemith in press interviews, his little lectures at concerts on how very complicated and demanding the next number was going to be, his quotations from Bach, the galloping pomposity of his piano solos." The public, however, continued its almost unanimous approval of the quartet. "The fact that it is admired by the public may explain the fact that it is scorned by many of the adepts," Rice assessed in the New Yorker. "'Popular' is an extreme [negative] in certain jazz circles."

With the substitution of Joe Morello on drums and Eugene Wright on bass in the late 1950s, Brubeck formed the classic Dave Brubeck Quartet, which performed unchanged for almost ten years. Len Lyons and Don Perlo, in their book Jazz Portraits: The Lives and Music of the Jazz Masters, described the basic elements of the quartet's music: "Fuguelike interplay among the instruments; clear (sometimes simplistic) thematic statements; excursions into polytonality; and a tight group sound." This definitive Dave Brubeck Quartet sound also bore the mark of irregular time signatures. Brubeck's belief that "new and complex rhythm patterns, more akin to the African parents, is the natural direction for jazz to develop," as he wrote in Down Beat, was fully realized on his famous 1959 recording, Time Out, which featured the hits "Take Five" (in 5/4 meter) and "Blue Rondo a la Turk" (in 9/8 meter). "Take Five" was so well received that it even made the popular music charts, unheard of for an instrumental jazz recording. Time Out went on to become the first instrumental jazz album certified gold.

The quartet continued to record and tour successfully until 1967, when Brubeck decided to disband the group to fully concentrate on composing sacred music and jazz-influenced symphonic works. Among his compositions is the cantata Truth Is Fallen, commissioned in 1971 and dedicated "to the slain students of Kent State University and Jackson State, and all other innocent victims caught in the cross fire between repression and rebellion," Leonard Feather noted in his book The Pleasures of Jazz.

But Brubeck couldn't stay away from the quartet format and the improvisational element of jazz. "Jazz stands for freedom," he told Duncan of the Christian Science Monitor. "It's supposed to be the voice of freedom: Get out there and improvise, and take chances." Since the early 1970s, Brubeck has recorded and toured with his quartet composed of various musicians, including a combination of his sons, and labeled Two Generations of Brubeck. Although not quite the force he was in the 1950s and 1960s, Brubeck continued to produce vital music, as Stereo Review's Chris Albertson attested to in a review of Brubeck's 1986 offering, Reflections, stating that "the album only partly reflects the past: the present is also strongly represented, and the blend is good…. There was always a lyrical side to Brubeck, and that - as several selections here demonstrate - is an aspect of his music that time has enhanced."

For over four decades Dave Brubeck has created music, both written and unwritten. He led one of the most successful quartets in the history of jazz without pandering to either popular or critical dictates, remaining "a paragon of obstinacy, and [playing], stolidly or not, as he pleases," Rice observed in the New Yorker. He has persisted in seeking a voice for his creations with an informed intellectual purpose. "Far from being a born jazz man, Brubeck is a creative artist, an artist who uses jazz as his means of self-impression and as a source of unbounded inspiration," wrote Jazz Journal' s White, adding that "the fundamental reason for Brubeck's failure to convince the jazz masses is simply that he attempted to bring something new into jazz."

(From Answers.com)

sexta-feira, 19 de fevereiro de 2010

Ray Conniff - The Essence of Ray Conniff

  1. 'S Wonderful (Mono)
  2. Young at Heart
  3. I'll See You in My Dreams
  4. Midnight Lace, Part 1
  5. Memories Are Made of This
  6. Somewhere My Love (Lara's Theme)
  7. What the World Needs Now
  8. Up, Up and Away
  9. (Where Do I Begin) Love Story
  10. I'd Like to Teach the World to Sing (In Perfect Harmony)
The Essence
In the field of popular music, successful instrumentalists are often considered a rarity. But as if the odds against him were not enough, Ray Conniff marked an entire generation with his music, playing, of all things, the trombone, an instrument seldom associated with solo careers. That he succeeded so well is a testimony to his deft understanding of what people wanted to listen to when he emerged on the musical scene in 1956.

Born in Attleboro, Massachusetts, in November, 1916, Conniff received his early musical training from his father, a trombone player. After finishing school, he moved to Boston and began working with various local "society" bands, learning his trade as an arranger with these and other more swinging outfits. Following stints with Dan Murphy, in 1934, and Hank Biagini, in 1936, Conniff joined the great Bunny Berigan in 1937, and subsequently Bob Crosby, with whom he stayed through 1940.

In the heyday of the big bands, there was no dearth of trombone players, but because he could also write snappy arrangements, Conniff managed to make a name for himself and stand out from the crowd. In 1941, he formed his first group, but when success eluded him he quickly returned to the fold with better known band leaders, notably Vaughan Monroe, and Artie Shaw, whom he followed in the Navy. While with Shaw, he arranged "Prelude In C-Sharp" and "'S Wonderful".

After the war, Conniff bacame an active member of the Harry James band, notably contributing many riff arrangements for James' easy-going type of music. But the big band era was coming to an end, and by 1948, Conniff found himself increasingly relying on his talents as an arranger rather than as a player. In August, 1954, he went to work as a staff trombonist for NBC, and the following year signed with Columbia Records as arranger-conductor for some of the label's pop vocalists, like Guy Mitchell, Rosemary Clooney, Frankie Laine, Johnnie Ray, and Marty Robbins, among others.

When Mitch Miller, then head of A&R, asked him to score "Band of Gold" for a new album by Don Cherry, Conniff wrote an introduction to the tune using a vocal chorus. The novelty caught on, and, as a result, the song became a million-seller.

In June, 1956, Conniff entered the studio to record his first album as a leader, and applying to himself the formula that had worked so well for Don cherry, recorded "'S Wonderful". His tingling arrangements and exuberant rhythms turned the tune into a huge hit, and introduced what became known as the "Ray Conniff sound", in which the singers often are heard either playing along with the other instruments or contrasting them with lines of their own in what amounts to a musical dialogue.

Released in 1956, "'S Wonderful" stayed on the charts for nine months, and paved the way for a string of other albums such as "'S Marvelous" (released in November, 1957) and "'S Awful Nice" (released in May, 1958), all of which relied on the same inventive formula.

In 1959, Conniff decided to move out of the studio and into the live concert arena, bringing along with him the sophisticated sound mixing that had ensured his success. His first appearance, at the Santa Monica auditorium promptly sold out, a feat duplicated shortly after at the Hollywood Bowl where he and his group performed in front of 19,000 people.

Undaunted by the onslaught of rock 'n' roll and changing tastes, Conniff went on recording albums throughout the 1960s and '70s, appearing in concert all over the world, and making new converts to his infectious brand of music. One reason for his perennial appeal may be seen in the fact that he wisely chose to upgrade his repertoire, switching from the great Tin Pan Alley standards to contemporary hits by today's best pop writers.

Indicative of this, this compilation contains some of the tunes that kept Conniff's name in the limelight during these years. Beginning with "'S Wonderful", it includes some standards, such as "I'll See You In My Dreams" and "Memories Are Made of This", as well as new compositions, like "Somewhere My Love (Lara's Theme)" (a #9 hit), "What the World Needs Now", "Up, Up and Away" "(Where Do I Begin) Love Story", and "I'd Like to Teach the World to Sing (In Perfect Harmony)".

Today, 36 years and 88 albums after he made his debut as a leader, Conniff continues to inspire the world with his unique brand of music. Only last year, he released a new album for the label, "'S Always Conniff", proving that he had lost none of his appeal. In a field where instrumentalists are not known to last long, this is saying quite a lot about the man with the happy beat and the infectious orchestral-cum-vocal arrangements.

(Didier C. Deutsch, from original notes)

quinta-feira, 18 de fevereiro de 2010

Frank Chacksfield Orchestra - Sentimental Favourites

  1. Hello, Young Lovers
  2. On the Street Where You Live
  3. So in Love
  4. Stardust
  5. No Other Love
  6. I've Got My Love to Keep Me Warm
  7. Our Love Affair
  8. Days of Wine and Roses
  9. I've Got the World On A String
  10. How Soon
  11. Almost There
  12. Baubles, Bangles and Beads
  13. Hey There
  14. Smile
  15. Dream Lover
  16. Deep Purple
  17. The Man I Love
  18. Young At Heart
  19. They Didn't Believe Me
  20. These Foolish Things (Remind Me of You)
  21. Moon River
Sentimental Favourites
Frank Chacksfield (b. May 9, 1914, Battle, Sussex, England; d. June 9, 1995) is a pianist and organist who had a series of hit singles in the '50s, most notably with "Ebb Tide."

Chacksfield learned how to play piano as a child. While he was a boy, he was the deputy organist for the local church. Though his parents discouraged him to pursue music as a career, he persevered. In the late '30s, when he was in his mid-20s, he was leading small musical bands in Britain. In 1940, he enlisted in the British army. During the war, he had his first radio broadcast, "Original Songs At the Piano," which orignated from Glasgow. Shortly after its broadcast, Chacksfield landed a job as the arranger for Stars In Battledress, a World War II entertainment troupe.

After the war, Chacksfield supported Charlie Chester's comedy group, Stand Easy. The connection with Chester led to Chacksfield's first recording, as the accompanist for Frederick Ferrari, one of Chester's lead singers. During this time, he was formed his own group, the Tunesmiths, and conducted orchestras for Henry Hall and Geraldo.

Frank Chacksfield signed with Decca and made his recorded solo debut in the early '50s. Soon, he scored a novelty hit single with "Little Red Monkey," which climbed to number three on the British charts in the spring of 1953. That summer, he had a Top 10 hit on both sides of the Atlantic with the "Theme from Limelight," which featured a lush, sweeping orchestra. The next year, Chacksfield followed with "Ebb Tide," which replicated the arrangement for "Limelight" and was equally successful. It was his first US hit single, peaking at number two.

For the rest of the '50s, Chacksfield released a series of popular instrumental singles, as well as accompanying albums. In the '60s, he had a weekly program on British radio; as he got older, he made the occasional appearance on UK radio shows.

Frank Chacksfield continued to record into the '90s; his last album was Thanks for the Memories (Academy Award Winners 1934-55), which was 1991. ~ Stephen Thomas Erlewine, All Music Guide

quarta-feira, 17 de fevereiro de 2010

Percy Faith - The Percy Faith Treasury - Disc Two

  1. Baubles, Bangles & Beads
  2. Laura
  3. More Than You Know
  4. La Vie En Rose
  5. Flamingo
  6. The Song from "Moulin Rouge" (Where Is Your Heart)
  7. Temptation
  8. I Could Have Danced All Night
  9. I Only Have Eyes For You
  10. Stars Fell on Alabama
  11. Tara's Theme
  12. Tenderly
  13. Blue Moon
  14. Autumn Leaves
  15. My Shawl
  16. Fascination
  17. Deep Purple
  18. Ebb Tide
  19. Malaguena
  20. Beyond the Sea (La Mer)

terça-feira, 16 de fevereiro de 2010

Percy Faith - The Percy Faith Treasury - Disc One

  1. Theme from "A Summer Place"
  2. Carolina Moon
  3. Speak Low
  4. I Get A Kick Out of You
  5. Moon River
  6. Shangri-La
  7. Bali Ha'i
  8. Delicado
  9. Stranger in Paradise
  10. I Concentrate on You
  11. Do I Hear A Waltz?
  12. Kisses Sweeter Than Wine
  13. And This Is My Beloved
  14. You'd Be So Nice to Come Home to
  15. Music Until Midnight (Lullaby For Adults Only) - English Horn and Oboe Solo by Mitch Miller
  16. Besame Mucho
  17. I've Told Ev'ry Little Star
  18. Moon Over Miami
  19. Dancing in the Dark
  20. Scarborough Fair / Canticle

Percy Faith once described his desire to arrange music as "being in a constant state of pregnancy". Known primarily for his arrangements of other writer's compositions, he was troubled by the characterization of his work as merely "arranging", as his arrangements were more accurately "recompositions". Percy Faith was born in 1908 to parents who encouraged his study of music. Although the smell of rosin made him ill, he was encouraged to play the violin and later moved to piano. In a twist of fate, Percy's little sister set her clothes on fire, and Percy burned his hands putting out the flames; while this temporarily left him unable to play, he was encouraged to continue the study of music, and to establish a firm classical background in music theory and composition.

Mr. Faith was able to share with us his gift of arranging popular music for orchestra, through a long recording career with Columbia Records beginning in 1950. Prior to that he enjoyed an extensive career "on the air" in Canada. Mr. Faith brought a high level of orchestral sophistication to the radio. His opulent string sound provided not only a showcase for his own stylings, it provided an ideal background for his vocal guests and co-hosts. Many of the selections heard on this treasury were initially written (arranged!) by Faith during his radio days, then "updated" (minor changes, mostly in tempo and orchestration) for the "LP" days. He died in 1976, with several years remaining in his recording contract, a tribute to his lasting talents.

Faith is considered a "giant" among the conductors of the "mood music" era. His technique was unique and immediately identifiable. Through a great deal of classical/traditional training, he approached a new song stripped to a one-note melody, then added his own unique countermelodies and rich harmonizations which were then orchestrated in the unique Faith style with emphasis on strings. There is a great deal of horizontal writing in any Faith arrangement, owing to his extensive studies in classical work; his approach to arranging popular music was that of scoring for string quartet. Several selections in this collection represent what many consider the essence of Faith's writing for strings only. 'Bouquet', 'Tenderly', Laura', 'Beyond the Sea', 'Autumn Leaves', 'Speak Low', 'Deep Purple', 'Ebb Tide', 'I Only Have Eyes For You', 'Music Until Midnight', and 'I Concentrate On You' are text-book examples of the rich sound Faith achieved with a 45 piece orchestra featuring string players only. The Faith "sound" is achieved without gimmickry, and perhaps the best tribute to the perfection achieved is that you can listen to a Faith arrangement repeatedly - there is little fatigue to be had listening to perfectionist work, especially so when the arrangements carry countermelodies of incredible beauty. His arrangements are very true to the original composition, distortion of the melody and frequent tempo changes were not his style; and because of his careful phrasing of each song, his albums were heralded as great instrumental listening with songs divorced from their lyrics because "the orchestra sang the words".

The first half of Percy's career was as a famous on-the-air arranger/conductor in Canada where the Canadian Broadcasting Corporation carried such programs as 'Streamline' and 'Music by Faith'. Percy rarely spoke on the radio; rather, he let his music speak for him. This background in radio is, perhaps, part of the reason that a Faith arrangement is so rich - he had years of experience dazzling audiences with his exciting orchestral sound in the radio days "on the air" before his recording career.

Represented here are several lush tracks with a definitive emphasis on strings. Also we hear Percy's arrangement of Max Steiner's 'Theme From A Summer Place', that won Mr. Faith not only a gold record, it earned him a Grammy and a chart topper status as well (the song never left the charts in 1960). We also hear an instrumental version of another Faith gold record, 'The Song from Moulin Rouge': due to his successful popular adaptation of the musch longer original song. Several other songs, from various periods of popular music history, are represented here with the Faith orchestra, such as 'Kisses Than Wine' and 'Scarborough Fair/Canticle'.

Percy Faith's album of instrumental versions of popular music from Broadway and Hollywood were proof of Percy's theory that the public would enjoy repeated hearings of show-and-movie tunes divorced from the lyrics; we hear proof of his ideas in 'Bali Ha'i', 'I Could Have Danced All Night', 'Moon River', and 'Do I Hear A Waltz?' from "Kismet" we hear Percy's renditions of 'And This Is My Beloved', 'Stranger In Paradise', and 'Baubles, Bangles and Beads'.

Percy was a Canadian with a definitive appreciation for Latin-influenced tunes - 'Malaguena', 'Besame Mucho' and 'Delicado' offer a glimpse of the excitement that Percy found in this music. We also hear some sparkling arrangements from an album that featured his string section and non-tuned percussion - 'My Shawl' and 'I Get A Kick Out Of You'. With strings, woodwinds, 'vocalise' (the wordless female chorus dubbed "the Percy Faith Magic Voices" in earlier years), we hear some rich examples of an album from 1963 that featured especially rich versions of 'Moon Over Miami', 'Stars Fell on Alabama', and 'Carolina Moon'.

The essence of twenty-five years of recording, augmented by classical training and arranging for radio all the way back to 1928, can be heard in each arrangement. The quality of Percy Faith's orchestral work is something we won't forget and something that we can always enjoy through the magic of the digital music. We most respectfully present the 'Percy Faith Treasury' and I know that you will enjoy many fine hours of listening.

(Bill Halvorsen, from the original liner notes)           

segunda-feira, 15 de fevereiro de 2010

Passion - Music For Guitar - Various Artists

  1. Proven by Fire - Randy Roos
  2. Love on the Beach - David Arkenstone
  3. Good Question - Nando Lauria
  4. Parasol Days - Simon Wynberg
  5. Passion and Pride - Friedemann
  6. Gentle Touch - Ralf Illenberger
  7. Running Games - Simon Wynberg
  8. New Face - Nando Lauria
  9. Lover's Promise - David Arkenstone
  10. Explorations - Randy Roos
  11. Joy of Life - Ralf Illenberger
Music For Guitar

domingo, 14 de fevereiro de 2010

Bocato - Tributo a Pixinguinha

  1. Ingênuo
  2. Generoso
  3. Rir para não chorar
  4. Samba de fato
  5. 1x0
  6. Rosa
  7. Yaô
  8. Carinhoso
  9. Pagão
  10. Concerto de bateria
  11. Vou vivendo
  12. Somente
  13. Lamento
Tributo a Pixinguinha
O país cuja música popular produziu Tom Jobim teria que ter produzido, antes, Villa-Lobos, de um lado, e de outro, Pixinguinha (os três grandes).

Pixinguinha, o santo, o menino bom Pizindin, o homem do sorriso sempre aberto e feliz. O mesmo que, com toda a singeleza do mundo, disse que era um poema. "Nós somos um poema". "Nós", no caso, eram ele, Donga e João da Baiana, seus principais companheiros de geração (outros três grandes: os três primeiros grandes compositores da história da MPB, surgidos nos anos 20).

Pixinguinha foi o maior.

Como compositor, ninguém como ele deu formas tão próprias a um dos mais requintados gêneros da nossa música, o choro. Nem soube criar pérolas ao mesmo tempo tão ricas e tão populares. Como "Carinhoso", que, mesmo sendo o hit que é, não tem refrão e não repete uma parte sequer da melodia cantada (da música com letra, essência da canção).

Como músico - um dos primeiros com conhecimentos técnicos no Brasil -, Pixinguinha foi um virtuose na flauta, um improvisador exímio.

Como band-leader, criou um conjunto importantíssimo. Os 'Oito Batutas', pioneiro, nos anos 20, em três coisas: na divulgação da música nacional no exterior; na incorporação de instrumentos como saxofone, o trompete, a clarineta e o banjo; e na deglutição de novas informações musicais, jazzísticas, que enriqueceram a formação de uma linguagem orquestral caracteristicamente brasileira, moderna.

Como arranjador, com uma atuação igualmente marcada pelo pioneirismo, Pixinguinha dirigiu as orquestras de estúdio que acompanharam os grandes cantores dos anos 30: Carmen Miranda, Mário Reis, Orlando Silva, Sílvio Caldas. Pixinguinha e suas orquestras. Bocato e suas orquestras. "Bocato e sua Orquestra Tocam Pixinguinha". Esse era o nome do show, apresentado no MIS de São Paulo em dezembro de 1994, dentro do projeto "Sempre-Novas". A série, por mim idealizada e coordenada, tinha por objetivo provar a permanência da novidade estética das obras dos antigos compositores da MPB (uma vez novas, sempre novas: esse era o lema), que eram relidas por artistas da atualidade. Quem senão Bocato, na cena paulistana, eu convidaria para mostrar a permanência de Pixinguinha?

E assim, no ano do centenário do compositor, eis que o tributo se transforma em disco. Belíssimo. Aqui, todas as escalas complexas e todas as atmosferas singelas da música doce e elaborada de Pixinguinha se acham reproduzidas, traduzidas por um músico sensível que soube manter o estilo e as estruturas originais dos choros e sambas ao mesmo tempo que os recriou de um modo e com um toque muito pessoais.

Ao mergulhar fundo no universo do choro e de Pixinguinha, o trombonista Bocato enfrentou dois desafios: adequar seu instrumento a um gênero de muitas notas e passar pela escola de um compositor tão difícil quanto a de um Charlie Parker. Venceu, claro, a ambos.

Literalmente, o espírito do choro e de Pixinguinha pôs a boca no trombone de Bocato. No bom sentido. Viva!

(Carlos Rennó, 1997)

Bocato iniciou seus estudos na banda da Escola Municipal Baeta Neves aos 7 anos de idade. Estudou na Fundação das Artes de São Caetano, no Instituto de Música do Planalto e Faculdade da Unesp, onde estudou composição e regência. No final dos anos 70 tocou com Arrigo Barnabé e Itamar Assunção do Festival Univesitário da Cultura, onde Arrigo Barnabé foi o vencedor com a música “Diversões Eletrônicas”. Em 1980 tocou e gravou com Elis Regina no show “Saudades do Brasil”. Depois desse disco sua carreira como instrumentista se intensificou muito, tocando com Rita Lee, Ney Matogrosso, Roberto Carlos e outros. Em 1982 fundou a Banda Metalurgia, que gravou um disco que foi considerado o melhor instrumental do ano. Em 1985 lançou seu primeiro LP solo. Atualmente sua discografia tem os seguintes discos: “Lixo Atômico”, “Sonho de um Anarquista”, “Concerto para Trombone Quebrado”, “Abruxa-te”, “Aqui Jazz Brasil”, “Ladrão de Trombone” e os CDs “Bem Dito”, “Samba de Zambas”, “Acid Samba” (estes dois últimos feitos na Suíça). Gravou ainda o CD “Tributo a Pixinguinha” em 97 com o qual realizou tourne pela Europa em comemoração aos 100 anos de Pixinguinha. Em 2004 lançou “Cacique Cantareira” e “Antologia da Canção Brasileira - vol.1” com Léa Freire, pelo selo Maritaca. Bocato também participou em várias gravações de artistas como Ná Ozzetti, Zé Miguel Wisnick, Gal Costa, Edson Cordeiro, Zéca Baleiro, Chico César, Celso Viáfora, Carlinhos Brown, Nação Zumbi, Fala Mansa, Pavilhão 9 e Art Popular, Marcelo D2 entre outros. Em 1998 fez nova tourne pela Europa com sua Banda e concorreu ao Prêmio Sharp como Melhor Arranjador pelo seu CD “Tributo a Pixinguinha”. Em 99, morando na Europa, participou do Festival de Montreaux tocando as músicas de seu CD “Samba de Zamba”. Em 2000 apresentou seu CD “Acid Samba” na Suíça. Em 2003 participa do Festival de Moscou, com sua banda e acompanhando Leny de Andrade e João Donato. Atualmente além de concertos por todo Brasil com seu grupo, está em processo de gravação de dois discos.

(From MySpace)

sábado, 13 de fevereiro de 2010

The Most Beautiful Melodies of the Century - Unchained Melody - VA

  1. Evergreen (Theme from "A Star Is Born")
  2. Longer - Romantic Strings
  3. The Sound of Music - Romantic Strings
  4. In the Still of the Night - Romantic Strings
  5. La Paloma - Len Stevens Orchestra
  6. Unchained Melody - Roger Williams
  7. Could I Have This Dance - Floyd Cramer
  8. I Love Paris - Ronnie Ogden Orchestra
  9. Michelle - Johnny Gibbs Orchestra
  10. Memories Are Made of This - Perry Botkin Jr. and His Orchestra
  11. She Believes in Me - Romantic strings
  12. Music Box Dancer - Romantic strings
Unchained Melody

sexta-feira, 12 de fevereiro de 2010

Henry Mancini - The best of Henry Mancini

  1. Breakfast at Tiffany's
  2. Pink Panther Theme
  3. Days of Wine and Roses
  4. Moon River
  5. A Shot in the Dark
  6. (Theme from) Love Story
  7. Raindrops Keep Fallin' on My Head
  8. Mr. Lucky
  9. Peter Gunn
  10. Experiment in Terror
  11. The Windmills of Your Mind
  12. Dream A Little Dream of Me
  13. Love Is A Many-Splendoured Thing
  14. By the Time I Get to Phoenix
  15. Charade (Opening Titles)
  16. The Shadow of Your Smile
  17. Evergreen
  18. Midnight Cowboy
  19. Till There Was You
  20. The Summer Knows
  21. Baby Elephant Walk
  22. (Theme from) Hatari!
  23. Blue Satin
  24. Momento to Moment

    Henry Mancini died in June 1994 and the world lost one of the giants of the popular music field. His forty years composing career had earned him four Oscar's, twenty Grammy's and seven gold albums.

    Born to a steel-working family in Pittsburgh seventy years earlier "Hank" learned his musical skills from Max Adkins, the musical director of Pittsburgh's Stanley Theatre. The visiting big-bands of the era were to influence the creative style of the young musician. In World War II he was drafted into the Army Air Corps and after being interviewed by Captain glenn Miller found himself playing piano in a band in Atlantic City.

    In the mid-fifties he worked as a staff-arranger at Universal Studios, Hollywood. It was here that the long-term relationship with Blake Edwards began. Mancini composed all the themes in Blake Edwards' new T.V. show, 'Peter Gunn'. The relationship also saw Mancini compose the themes to the films, 'Breakfast at Tiffany's' and 'The Days of Wine and Roses'. However, the relationship was firmly cemented in 1963 when Henry composed the theme to Blake's new film, 'The Pink Panther'.

    This collection contains all those titles and more. In addition to his own compositions we have Mancini's interpretation of other Classic film themes and popular songs. John Barry's 'Midnight Cowboy', Michel Legrand's 'The Summer Knows' and 'Windmills of Your Mind' are all given that special Mancini treatment.

    The music of Henry Mancini will live forever. This special collection features the whole range of his work and includes all of his greatest compositions and arrangements. The association with the RCA Victor Label goes back to the mid-fifties and the Camden label is proud to present the very best of Henry Mancini.

    (Michael Dunnington, March 1997)

    quinta-feira, 11 de fevereiro de 2010

    Jean Jacques Perrey - Moog Indigo

    1. Soul City
    2. E.V.A.
    3. The Rose and the Cross
    4. Cat in the Night
    5. Flight of the Bumblebee
    6. Moog Indigo
    7. Gossipo Perpetuo
    8. Country Rock Polka
    9. The Elephant Never Forgets
    10. 18th Century Puppet
    11. Hello Dolly
    12. Passport to the Future
    Mood Indigo

    Far-out electronic entertainments created with the fabulous Moog synthesizer

    Without a ship Columbus could not have traversed the Atlantic, without a telescope Galileo could not have charted the solar system, and what the MOOG SYNTHESIZER opens up for the future of music is beyond dreams. The MOOG is the remarkable musical instrument of our electronic age, and actually an infinite variety of instruments in one. A five-octave keyboard like that of the piano operates a system of interconnected oscillators, amplifiers, generators, filters, mixers and voltage controls which can produce any variation of pitch, wave frequency, overtone mixture, timbre, dynamics and tone duration. The use of multi-track tape enables the performer to layer sound upon sound, melodic line upon melodic line, rhythm upon rhythm and add new possibilities to the play of his imagination.

    The most amazing instrument is nothing without a mind behind it, and Jean Jacques Perrey's mind is that of a combined musician and scientist, with a special love for what is happy and vital in popular music. The way Paganini thought musically in terms of the violin, Perrey thinks musically in terms of the MOOG. Some of these tunes are his; others are from different people. All of them kindled his MOOG-extended imagination, bent to make music an enjoyable experience.

    (From original liner notes)

    Instruments by Carroll Music
    Engineer: Ed Friedner
    Originally released in 1970

    Jean-Jacques Perrey (born 1929) is a French electronic music producer and was an early pioneer in the genre. He is best known within the sphere of popular music as a member of the influential electronic music duo Perrey and Kingsley, and for his unusually light-hearted style of music.

    Biography

    Perrey was born in France in 1929. He was studying medicine in Paris when he met George Jenny, inventor of the Ondioline. Quitting medical school, Perrey travelled through Europe demonstrating this keyboard ancestor of the modern synthesizer. At the age of 30, Perrey relocated to New York, sponsored by Caroll Bratman, who built him an experimental laboratory and recording studio. Here he invented "a new process for generating rhythms with sequences and loops", utilising the environmental sounds of "musique concrète." With scissors, splicing tape, and tape recorders, he spent weeks piecing together a uniquely comique take on the future. Befriending Robert Moog, he became one of the first Moog synth musicians, creating "far out electronic entertainment". In 1965 Perrey met Gershon Kingsley, a former colleague of John Cage. Together, using Ondioline and Perrey's loops, they created two albums for Vanguard — The In Sound From Way Out (1966) and Kaleidoscopic Vibrations (1967). Perrey and Kingsley collaborated on sound design for radio and television advertising. Perrey returned to France, composing for television, scoring for ballet and continuing medical research into therapeutic sounds for insomniacs.
    Influence and recent collaboration

    The rap group Beastie Boys released an instrumental CD titled, as a tribute to Perrey & Kingsley, The In Sound From Way Out. Two themes from Perrey, "The elephant never forgets" and "Baroque Hoedown" were used in Mexico by the writer/ comedian Roberto Gomez Bolaños , A cover version of "Baroque Hoedown" was the main theme for Disney's Main Street Electrical Parade, Chespirito as the main themes from his comedy shows El Chavo Del Ocho and El Chapulin Colorado. One theme from Perrey, "Gossip Perpetuo" has been used in Sweden by the comedians Anders och Måns in their selftitled comedy show on Swedish television. His 1970 song "E.V.A" was sampled by several rap artists, most notably Gang Starr on "Just to Get a Rep" (1991) and also O.G.C. on "No Fear" (1996).

    Perrey's return from obscurity began in 1997, when he started recording in Bordeaux, France with David Chazam. Their album Eklectronics was first released on vinyl in France only, in 1998. A CD version of the album was released in Holland on the BASTA label, with several additional tracks added. The year 2000 also saw his collaborative CD with Gilbert Sigrist, released. "Circus of Life" was first released as a "library" recording, for TV and Radio (France only), then released on Perrey's own PHMP label.

    The year 2006, saw the release of the CD The Happy Electropop Music Machine on Oglio Records, of Los Angeles, CA. The CD was a collaboration with musician/arranger Dana Countryman. The two toured the West Coast of America to promote the CD.

    Also, in 2006, Perrey began collaborating with producer Luke Vibert for a CD on England's Lo Records: Moog Acid. The result is a blend of retro and modern analogue house synth-pop, encapsulating many genres and the two respective styles of the artists. The CD was released in 2007.

    Perrey's current CD release is Destination Space, also on Oglio Records (2008). It is also a collaboration with Dana Countryman. The duo performed concerts in New York City, and Montreal in Oct., 2008, to promote its release. This CD is remarkable, in light of the fact that Perrey was almost 80 years old, when it was released.

    Perrey's 1974 moog track, "Boys And Girls," on which he collaborated with Gilbert Sigrist, is used for the closing credits music in the Nickelodeon cartoon series, The Mighty B!

    Discography

    As Perrey and Kingsley:

        * The In Sound From Way Out! (1966)
        * Kaleidoscopic Vibrations: Spotlight on the Moog (1967)

    As Jean-Jacques Perrey:

        * Prelude au Sommeil (1957) [France only]
        * Cadmus, Le Robot de l'Espace (1959) [France Only]
        * Mr. Ondioline (1960) [EP]
        * Musique Electronique Du Cosmos (1962)
        * The Amazing New Electronic Pop Sound of Jean Jacques Perrey (1968)
        * The Happy Moog (1969)
        * Moog Indigo (1970)
        * Moog Sensations (1971)
        * Moog Expressions (1972)
        * Quadraphonic Demonstration Album - Program 2 (1972)
        * Moog Generation (1973)
        * Mig Mag Moog (1974)
        * Dynamoog (with Gilbert Sigrist) (1978)
        * Good Moog - Astral Animations & Komputer Kartoons (1998)
        * Circus of Life (with Gilbert Sigrist) (1999)
        * Eclektronics (with David Chazam) (2000)
        * Moog Sensations (2001)
        * The Happy Electropop Music Machine (with Dana Countryman)(2006)
        * Moog Acid (with Luke Vibert) (2007)
        * Destination Space (with Dana Countryman)(2008)

    (From Answers.com)

    quarta-feira, 10 de fevereiro de 2010

    Count Basie - Basie Boogie

    1. In A Mellotone
    2. The Midgets
    3. Whirly-Bird
    4. Basie Boogie
    5. The Deacon
    6. Cute
    7. Old Man River
    8. The Kid from Redbank
    9. Spring is Here
    10. Why Not?
    11. Corner Pocket
    12. Little Pony
    13. Blee Blop Blues
    Basie Boogie
    Count Basie - Piano
    Thad Jones, Joe Newman, Snooky Young, Wendell Cully - Trumpets
    Henry Coker, Benny Powell, Al Grey - Trombones
    Marshall Royal - Clarinet, Alto Saxophone
    Frank Wess - Flute, Alto and Tenor Saxophone
    Frank Foster, Billy Mitchell - Tenor Saxophone
    Charlie Fowlkes - Flute, Bass Clarinet, Baritone Saxophone
    Freddie Green - Guitar
    Eddie Jones - Bass
    Sonny Payne - Drums

    Recorded in Europe, 1958 / 1959

    If imitation is the sincerest form of flattery, the achievement of William 'Count' Basie (1904-1984) has been the most fawned-over, whether by rehearsal bands, youth bands, semi-professional bands or studio produced all around the world.

    For five years Count Basie was pianist with Bennie Moten in Kansas City, and on Moten's death in 1935 he assumed leader-ship of the band. Engagements at a number of fashionable places, including Roseland Ballroom and Famous Door nightclub brought the band to the fore.

    The orchestra had long been considered one of the world's best big bands, on a par with those of Duke Ellington and Woody Herman.

    The qualitiesof the Basie band were the Count's simple, somewhat elliptical piano style, the rhythm section that supported it and a lot of inspired soloists. Except for a period in the early Fifties, when economic conditions compelled him to tour with a septet, Count Basie has led a big band and has gained a global reputation for his undying allegiance to the beat, his loyalty to the blues as a basic form, and his ability to produce, year after year, records of high caliber.

    During the mid-Fifties many new stars were featured, among them Thad Jones, Joe Newman, Frank Wess and Frank Foster. A couple of extremely succesful records gave the necessary impetus for the band to remain in business for a further three decades.

    There have been a plenitude of enthusiasts for the Count Basie band during the late Fifties in recent years. For some the great attraction has been the saxophone section or the super-abundance of tenor soloists. For others it has been the brass sound, entire or divided, as tastes will have these things, among the trumpets and trombones individually, among such gifted soloists as Joe Newman, Thad Jones, Henry Coker, Benny Powell...etc.

    For still others, it has been the rhythm section, as always one of the incomparable graces of the Basie organization. But however it comes out, and for whomever, the key word is usually that much over worked adjective, exciting. Overworked or not, exciting is the word for Basie - exciting and all its most obvious synonyms.

    (From original liner notes)

    (William) Count Basie (1904-1984) was an extremely popular figure in the jazz world for half a century. He was a fine pianist and leader of one of the greatest jazz bands in history.

    The story of Count Basie is very much the story of the great jazz band that he led for close to 50 years (1935-1984), an orchestra with a distinctive sound, anchored by a subtle but propulsive beat, buoyed by crisp ensemble work, and graced with superb soloists (indeed, a catalogue of featured players would read like a Who's Who of jazz). But perhaps the most startling aspect of the band's achievement was its 50-year survival in a culture that has experienced so many changes in musical fashion, and especially its survival after the mid-1960s when jazz lost much of its audience to rock music and disco.

    William Basie was born in Red Bank, New Jersey, on August 21, 1904. His mother was a music teacher, and at a young age he became her pupil. But it was in Harlem, New York City, that he learned the rudiments of ragtime and stride piano, principally from his sometime organ teacher, the great Fats Waller. Basie made his professional debut as an accompanist for vaudeville acts. While on a tour of the Keith vaudeville circuit he was stranded in Kansas City. Here, in 1928, after a short stint as house organist in a silent movie theater, he joined Walter Page's Blue Devils, and when that band broke up in 1929, he was hired by Bennie Moten's Band and played piano with them, with one interruption, for the next five years.

    Moten's death in 1935 altered Basie's career dramatically. He took over the remnants of the band (they called themselves The Barons of Rhythm) and, with some financial and promotional support from impresario John Hammond, expanded the personnel and formed the first Count Basie Orchestra. Within a year or so the band had developed its own variation of the basic Kansas City swing style - a solidly pulsating rhythm underpinning the horn soloists, who were additionally supported by sectional riffing (i.e., the repetition of a musical figure by the non-soloing brass and reeds). This familiar pattern is evident in the band's theme song, "One O'Clock Jump, " written by Basie himself in 1937, which has a subdued, expectant introduction by the rhythm section (piano, guitar, bass, and drums), then bursts into full orchestral support for a succession of stirring solos, and concludes with a full ensemble riffing out-chorus. Like any great swing band, Basie's was exciting in any tempo, and in fact one of the glories of his early period was a lugubrious, down-tempo blues called "Blue and Sentimental, " which featured two magnificent solos (one by Herschel Evans on tenor saxophone and the other by Lester Young on clarinet) with full ensemble backing.


    A Huge Success

    By 1937 Basie's band was, with the possible exception of Duke Ellington's, the most highly acclaimed African American band in America. In the racially segregated context of the pre-World War II music business, African American bands never achieved the notoriety nor made the money that the famous white bands did. But some (Ellington's, Earl Hines's, Jimmy Lunceford's, Erskine Hawkins's, Chick Webb's, and Basie's, among them) did achieve a solid commercial success. Basie's band regularly worked some of the better big city hotel ballrooms and shared with many of the other 1,400 big bands of the Swing Era the less appetizing one-nighters (a series of single night engagements in a variety of small cities and towns that were toured by bus).

    Some of the band's arrangements were written by trombonist Eddie Durham, but many were "heads" - arrangements spontaneously worked out in rehearsal and then transcribed. The band's "book" (repertory) was tailored not only to a distinctive orchestral style but also to showcase the band's brilliant soloists. Sometimes the arrangement was the reworking of a standard tune - "I got Rhythm, " "Dinah, " or "Lady, Be Good" - but more often a bandsman would come up with an original written expressly for the band and with a particular soloist or two in mind: two of Basie's earliest evergreens, "Jumpin' at the Woodside" and "Lester Leaps In" were conceived primarily as features for the remarkable tenor saxophonist Lester Young (nicknamed "Pres, " short for "President") and were referred to as "flagwavers, " up-tempo tunes designed to excite the audience.

    Unquestionably the Swing Era band (1935-1945) was Basie's greatest: the superior arrangements (reflecting Basie's good taste) and the sterling performers (reflecting Basie's management astuteness) gave the band a permanent place in jazz history that even severe personnel setbacks couldn't diminish. Herschel Evans's death in 1939 was a blow, but he was replaced by another fine tenorist, Buddy Tate; a major defection was that of the nonpareil Lester Young ("Count, four weeks from tonight I will have been gone exactly fourteen days."), but his replacement was the superb Don Byas; the trumpet section had three giants - Buck Clayton, Harry "Sweets" Edison, and Bill Coleman - but only Edison survived the era as a Basie-ite.

    Perhaps the band's resilience in the face of potentially damaging change can be explained by its model big band rhythm section, one that jelled to perfection - the spare, witty piano of Basie; the wonderful rhythm guitar of Freddie Green (who was with the band from 1937 to 1984); the rock-solid bass of Walter Page (Basie's former employer); and the exemplary drumming of Jo Jones. Nor was the band's excellence hurt by the presence of its two great blues and ballads singers, Jimmy Rushing and Helen Humes.


    "April in Paris"

    The loss of key personnel (some to the military service), the wartime ban on recordings, the 1943 musicians' strike, the economic infeasibility of one-nighters, and the bebop revolution of the mid-1940s all played a role in the death of the big band era. The number of 12 to 15 piece bands diminished drastically, and Basie was driven to some soul-searching: despite his international reputation and the band's still first-rate personnel, Basie decided in 1950 to disband and to form a medium-sized band (first an octet and later a septet), juggling combinations of all-star musicians, among them tenorists Georgie Auld, Gene Ammons, and Wardell Gray; trumpeters Harry Edison and Clark Terry; and clarinetist Buddy DeFranco. The groups' recordings (Jam Sessions #2 & #3) are, predictably, of the highest quality, but in 1951 Basie reverted to his first love - the big band - and it thrived, thanks largely to the enlistment of two Basie-oriented composer-arrangers, Neil Hefti and Ernie Wilkins; to the solo work of tenorists Frank Wess and Frank Foster and trumpeters Joe Newman and Thad Jones; and to the singing of Joe Williams. Another boost was provided in the late 1950s by jazz organist Wild Bill Davis's arrangement of "April in Paris" which, with its series of "one more time" false endings, came to be a trademark of the band for the next quarter of a century.

    A stocky, handsome, mustachioed man with heavy-lidded eyes and a sly, infectious smile, Basie in his later years took to wearing a yachting cap both off and on the bandstand. His sobriquet, "Count, " was a 1935 promotional gimmick, paralleling "Duke" (Ellington) and "Earl" (Hines's actual first name). He was a shrewd judge of talent and character and, ever the realist, was extremely forbearing in dealing with the behavioral caprices of his musicians. His realistic vision extended as readily to himself: a rhythm-centered pianist, he had the ability to pick out apt chord combinations with which to punctuate and underscore the solos of horn players, but he knew his limitations and therefore gave himself less solo space than other, less gifted, leaders permitted themselves. He was, however, probably better than he thought; on a mid-1970s outing on which he was co-featured with tenor saxophone giant Zoot Sims he acquitted himself nobly.

    Among Basie's many recordings perhaps the most essential are The Best of Basie; The Greatest: Count Basie Plays … Joe Williams Sings Standards; and Joe Williams/Count Basie: Memories Ad-Lib. There are also excellent pairings of Basie and Ellington, with Frank Sinatra, with Tony Bennett, with Ella Fitzgerald, with Sarah Vaughan, and with Oscar Peterson.

    In 1976 Basie suffered a heart attack, but returned to the bandstand half a year later. During his last years he had difficulty walking and so rode out on stage in a motorized wheelchair, his playing now largely reduced to his longtime musical signature, the three soft notes that punctuated his compositional endings. His home for many years was in Freeport, the Bahamas; he died of cancer at Doctors' Hospital in Hollywood, Florida, on April 26, 1984. His wife, Catherine, had died in 1983; they had one daughter. The band survived Basie's death, with ex-Basie-ite trumpeter Thad Jones directing until his death in 1986.

    Further Reading

    The best source for early Basie is Ross Russell's Jazz Style in Kansas City & The Southwest (1971). Two studies of the life of the band are Ray Horricks' Count Basie & His Orchestra and Stanley Dance's The World of Count Basie (1980), the latter a composite study of Basie and the band through bandsmen's memoirs. There is also a short biography, Count Basie (1985), by British jazz critic Alun Morgan. Good Morning Blues: The Autobiography of Count Basie as told to Albert Murray was published posthumously in 1985.

    (From Answers.com)

    terça-feira, 9 de fevereiro de 2010

    101 Strings - In Concert

    1. Fly Me to the Moon
    2. It's Impossible
    3. House of the Rising Sun
    4. Do You Know the Way to San Jose
    5. September Song
    6. Mayfair Walk
    7. The Lady is A Tramp
    8. Stranger on the Shore
    9. I'll Never Smile Again
    10. I'll Take You Home Again Kathleen
    11. I'd Like to Teach the World to Sing
    12. American Trilogy
    In Concert

    segunda-feira, 8 de fevereiro de 2010

    Art Metal Quinteto - Da Renascença ao Jazz

    1. Rondeau (From Suite de Symphonies)
    2. Trompet Voluntary
    3. Canzone der Sonare nº 4
    4. My Spirit Be Joyfull (From Cantata BWV, 146)
    5. Divertimentos Folclóricos
    6. Brejeiro - Odeon
    7. Cantos Nordestinos
    8. Choros Nº 1
    9. Suite para Metais
    10. Snap
    11. Introdução e Fanfarra
    12. Polka (From the Golden Age)
    13. Suite For Brass
    14. Mood Indigo
    15. The Easy Winners
    16. Another Cat: Kraken
    O som dos metais parece ter vindo do fundo dos tempos - clarins guerreiros, trompas de caça, charamelas e trombetas abrilhantando as ocasiões solenes da Idade Média. De toda essa herança imemorial foram-se filtrando os instrumentos modernos, através de um processo de aperfeiçoamento contínuo. e o resultado final dessa história é o que se pode ouvir nesse colorido programa do quinteto Art Metal.

    A viagem, aqui, é longa, mas sem chegar a antiguidades medievais, já que os integrantes do quinteto (membros da Orquestra Sinfônica Brasileira) trabalham com os instrumentos de hoje, ligados às eras "clássicas" da música. Mesmo assim, o 'Rondeau' de Jean-Joseph Mouret que abre o programa, ainda traz o eco de uma antiga música cerimonial. É como uma fanfarra, correspondendo, aqui, ao início do século XVIII; e a peça preserva a alegria e a vibração associadas a esse tipo de manifestação musical. Contemporâneo de Mouret, e da mesma natureza, é o famoso 'Trumpet Voluntary', de Jeremiah Clarke.

    Com a 'Canzone per sonare nº 4', de Giovanni Gabrieli, recuamos mais de cem anos, até o esplendor bizantino da catedral de São Marcos, em Veneza, quando Gabrieli era, ali, o mestre da capela. É uma polifonia suntuosa, correspondendo à dignidade daquela Veneza dos tempos dos doges, senhora dos mares. Segue-se um trecho vibrante, em estilo de Bourrée, extraído da cantata BWV 146, de Bach.

    Com Bach, despedimo-nos dos séculos passados e caímos em plena música brasileira, com o 'Divertimento folclórico nº 1', de Raphael Baptista. É obra revelando a temática característica de um músico que sempre batalhou muito pelas nossas raízes musicais; peça alegre, que chega a evocar uma quermesse, e que joga com a "Ciranda, cirandinha". Ernesto Nazareth comparece, a seguir, com arranjos de duas peças mais que famosas: 'Brejeiro' e 'Odeon'.

    Uma outra incursão pelo folclore é a dos 'Cantos Nordestinos' de Gilberto Gagliardi. A simples escala utilizada, e os jogos de terças, já nos projetam para o universo nordestino. A peça transcorre em clima de forró, momentos plangentes temperando a sua jocosidade.

    Voltamos às transcrições com os 'Choros nº 1' de Villa-Lobos, escrito originalmente para violão, e a homenagem mais direta feita pelo grande compositor brasileiro ao mundo dos "chorões", onde ele encontraria tanta matéria musical. A 'Suíte' de Amaral Vieira, em quatro movimentos curtos, merece atenção especial, vinda de um compositor jovem e fecundo. Na sua linguagem desenvolta, ela é também uma referência a épocas passadas (uma das características de toda a obra de Amaral Vieira), com a tranquilidade de 'Canzone' e o ímpeto da 'Tocata', que se apresenta num só jorro.

    'Snap', de Harold Emert, é o trabalho de um especialista em sopros, e utiliza habilmente os contratempos, além de um trabalho tímbrico que chega a criar uma atmosfera impressionista. Quase se pode ver, nessa peça sutil, névoas da manhã esgarçadas pelos arranha-céus de Nova York. 'Introduction and fanfarre', de Daniel Havens, é a outra peça altamente idiomática, com um forte sentido rítmico. A 'Polka' de 'The golden age', em arranjo de San Filippo, traz a presença de Shostakovich em sua linguagem característica - irônico, sarcástico, lírico, sem fugir às dimensões do gênero. A 'Suite for brass', de Sherson e McDunn, é outro pastiche de uma estrutura antiga; mas na sua leveza e bom-humor pode-se ler, com num livro aberto, a imensa contribuição da música americana à literatura dos sopros. O 'Pot-pourri', sobretudo, escancara a veia jazzística, num balanço forte que dá interessantes possibilidades a cada um dos timbres.

    Segue-se o clássico 'Mood Indigo', de duke Ellington, tranquila meditação de um dos príncipes do jazz, e uma animada polca de Scott Joplin - 'The easy winners'. 'Another cat: Kraken', de Chris Hazell, é o bem-humorado fecho do programa, com o umpa-umpa característico da música mais popular para sopros.

    (Luiz Paulo Horta, das notas originais)

    Da Renascença Ao Jazz

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