sexta-feira, 30 de abril de 2010

The Jackie Gleason Orchestra - For Lovers Only - Volume 3

  1. Alone Together
  2. Moonlight Becomes You
  3. I've Got You Under My Skin
  4. The Song Is You
  5. Once in A While
  6. It's the Talk of the Town
  7. Love Is Here to Stay
  8. You're My Thrill
  9. I'm in the Mood for Love
  10. My Ideal
  11. I'm Thru with Love
  12. You Call It Madness (But I Call It Love)
For Lovers Only 3

quinta-feira, 29 de abril de 2010

Bert Kaempfert and His Orchestra - Afrikaan Beat and Other Favorites

  1. Afrikaan Beat
  2. Dancing in the Dark
  3. Moonglow
  4. Where Flamingos Fly
  5. Stardust
  6. Pony Violins
  7. Solitude
  8. Cherokee (Indian Love Call)
  9. Trumpet in the Night
  10. Where or When
  11. Bert's Tune
  12. Just As Much As Ever
Afrikaan Beat
Composer-conductor-arranger Bert Kaempfert created a sensation with the hit recording of his own song, the hauntingly beautiful "Wonderland by Night". With it, he almost singlehandedly reestablished the popularity of the big band, and in so doing became one of its most popular and vital forces.

Wonderland has been followed by a bright succession of Kaempfert hits - the most recent of which, and perhaps the most significant being the title song of this album, "Afrikaan Beat". An original Kaempfert composition, "Afrikaan Beat" - with its brilliant trumpet passages and beautiful intrusion of massed strings - represents one of the most rhythmically exciting and melodically imaginative sounds ever conceived by Mr. Kaempfert, or anyone else on the scene today.

The album - which also includes such lovely "standards" as Hoagy Carmichael's ever-popular "Stardust", Duke Ellington's poignant "Solitude", the Rodgers-Hart popular classic "Where or When", the enigmatically beautiful "Moonglow", and Bert Kaempfert's own "Trumpet in the Night" and "Bert's Tune".

The mood of the album ranges from softly sentimental to lightly swinging. The sound is characteristically rich.

(from the original LP liner notes)

The Jackie Gleason Orchestra - For Lovers Only - Volume 2

  1. Dancing in the Dark
  2. Darn That Dream
  3. It All Depends on You
  4. I'm Glad There Is You
  5. Body and Soul
  6. It Could Happen to You
  7. I Only Have Eyes for You
  8. I'll Be Seeing You
  9. I Thought About You
  10. You've Changed
  11. I Remember You
  12. When Your Lover Has Gone
For Lovers Only 2

quarta-feira, 28 de abril de 2010

The Jackie Gleason Orchestra - For Lovers Only - Volume 1

  1. My Funny Valentine
  2. I Can't Get Started
  3. The Man I Love
  4. Just One More Chance
  5. She's Funny That Way
  6. Yesterdays
  7. You and the Night and the Music
  8. I Hadn't Anyone Till You
  9. Time on My Hands (And You in My Arms)
  10. (I Don't Stand A) Ghost of A Chance
  11. A Cottage for Sale
  12. Somebody Loves Me
For Lovers Only 1

    * Born: 26 February 1916  
    * Birthplace: Brooklyn, New York
    * Died: 24 June 1987 (cancer)
    * Best Known As: Ralph Kramden on The Honeymooners

      Name at birth: Herbert John Gleason

Not only was he one of the finest comedians America has ever produced, Jackie Gleason applied his prodigious talents to music as well. With a strong jazz roots background (leaning to mesmerized idolatry when dealing with good trumpet players), Gleason developed a chart-topping series of mood music albums in the '50s, citing his reason for their existence: "Every time I ever watched Clark Gable do a love scene in the movies, I'd hear this really pretty music, real romantic, come up behind him and help set the mood. So I'm figuring that if Clark Gable needs that kinda help, then a guy in Canarsie has gotta be dyin' for somethin' like this!"

Gleason began making films in the '40s, but he rose to stardom in the early '50s, thanks to the late '40s/early '50s television series The Life of Riley and Cavalcade of Stars. His television stardom led to a contract with Capitol Records, who released his first album, Music for Lovers Only, in 1953. As a musician, Gleason favored lush, dramatically orchestrated instrumentals, patterned after the mood music of Paul Weston. Gleason wasn't a trained musician, but he was responsible for the musical direction of his records; when he did write a piece, he would dictate to someone who could read and write music.

Music for Lovers Only was a surprise hit, selling over 500,000 copies. Every subsequent Gleason album was a major hit, reaching the Top Ten and selling a large number of copies. Gleason continued to release albums into the '60s, but his popularity dipped dramatically after 1957. After that year, he no longer was able to make it into the Top 15, even though his records continued to appear in the lower regions of the charts. Gleason's records have continued to be popular cult items and they have come to be regarded as definitive mood music albums. ~ Cub Koda & Stephen Thomas Erlewine, All Music Guide

terça-feira, 27 de abril de 2010

The Clebanoff Strings & Orchestra - Besame Mucho

  1. Malagueña
  2. Quiereme Mucho
  3. Hava Naguila
  4. Taboo
  5. Cumana
  6. Jungle Drums
  7. Granada
  8. La Paloma
  9. Besame Mucho
  10. Black Orpheus
  11. El Manicero
  12. Quizas, Quizas, Quizas
  13. My Shawl
  14. Aquarela do Brasil
  15. The Girl from Ipanema
  16. La Macarena
  17. El Humahuaqueno
  18. Solamente Una Vez
  19. Misirlou
  20. Adoro
  21. Guantanamera
  22. La Comparsa
  23. Andalucia (The Breeze and I)
  24. Poinciana

segunda-feira, 26 de abril de 2010

Floyd Cramer - Collector's Series

  1. Last Date
  2. For the Good Times
  3. Tennessee Waltz
  4. Green Green Grass of Home
  5. Blue Bayou
  6. Honey
  7. Born to Lose
  8. Blue Eyes Crying in the Rain
Collector's Series

Collector's Series is a reasonably thorough overview of Floyd Cramer's career, offering nearly every one of his hits ("Last Date," "Tennessee Waltz," "For the Good Times") in its original version. ~ Stephen Thomas Erlewine, All Music Guide 

A distinctive pianist whose unique, slip-note playing style came to typify the pop-oriented Nashville sound of the late '50s and early '60s, session and solo musician Floyd Cramer was born October 27, 1933, in Louisiana. After a childhood spent largely in Arkansas, he returned to his home state in 1951 and began appearing on the radio program The Louisiana Hayride, where he performed with the likes of Jim Reeves, Faron Young, Webb Pierce, and, in his debut, Elvis Presley.

While Cramer cut a few solo sides in 1953, his most important work in the early '50s was as a session musician, where he first met Chet Atkins, who encouraged the pianist to move to Nashville. He did in 1955, rejoining Atkins as the house pianist at RCA Records to begin developing what would ultimately be recognized as the Nashville sound, a style shorn of the elements associated with traditional country and honky tonk instead favoring a more polished, progressive sheen. With Atkins behind the production boards, Cramer began to perfect his unique style of playing, a method not dissimilar to guitar-picking in that he would hit one key and then slide his finger onto the next, creating a blue, lonesome sound. Under Atkins' guidance, Cramer played on hundreds of sessions, including many for Presley, among them "Heartbreak Hotel."

In 1957, Cramer released his own solo debut, That Honky-Tonk Piano, and in the next year scored a minor pop hit with the single "Flip, Flop and Bop." As his solo career was largely secondary in relation to his session work, he recorded his own music sporadically, but in 1960 notched a significant country and pop hit with the self-penned instrumental "Last Date." The follow-up, a cover of Bob Wills' "San Antonio Rose," reached the Top Ten of both charts. He also released an LP a year between 1960 and 1962, starting with Hello Blues and followed by Last Date and I Remember Hank Williams.

From 1965 to 1974, Cramer annually released a Class Of... album, a collection of the year's top hits done in his own inimitable style. In 1971, he also teamed with Atkins and saxophonist Boots Randolph for the album Chet, Floyd and Boots. By 1977, Cramer was exploring modern technology, and on the LP Keyboard Kick Band, he played a number of instruments, including a synthesizer. In 1980, he released his last significant hit, a recording of the theme from the hit TV drama Dallas. Though largely quiet for most of the decade, in 1988 Cramer released three separate albums -- Country Gold, Just Me and My Piano!, and Special Songs of Love. He died December 31, 1997. ~ Jason Ankeny, All Music Guide

domingo, 25 de abril de 2010

Orquestra Românticos de Cuba - Momentos de Amor

  1. Mi Sueno Azul
  2. Viver em Paz - Nuvens (Clouds)
  3. Momento de Amor
  4. The Shadow of Your Smile
  5. The Sound of Music
  6. Murmullo
  7. Insensatez - Meditação
  8. Dear Heart
  9. Forget Domani
  10. Charade
Momentos de Amor

Orquestra Românticos de Cuba - Besame Mucho - Boleros

  1. Besame Mucho / Dos Almas
  2. Frio en el Alma / Hipocrita
  3. Una Vez / Venganza
  4. Angelitos Negros / Senora
  5. Somos / Una Mujer
  6. Ay de Mi / Nosotros
  7. Amor, Amor, Amor / Quiereme Mucho
  8. Amorosamente / Final
  9. Abrazame Asi / Inutilmente
  10. Una Aventura Mas / Verdad Amarga
  11. Pecado / Quizas, Quizas, Quizas
  12. Llevame / Palabras de Mujer
Boleros

Clebanoff e Sua Orquestra - Sucessos de Hoje

  1. Follow the Boys
  2. Our Day Will Come
  3. Puff
  4. The End of the World
  5. Don't Set Me Free
  6. Days of Wine and Roses
  7. Can't Get Used to Losing You
  8. All I Have to Do Is Dream
  9. Pipeline
  10. Sax Fifth Avenue
  11. Our Winter Love
  12. Love for Sale
Produzido por Jack Tracy
Arranjos de Wayne Robinson - Orgão Thomas utilizado exclusivamente neste disco

Sucessos de Hoje

Este disco reúne os mais deliciosos e mais duradouros ingredientes que podem ser encontrados nos discos populares modernos. Unidade: a estilização eterna e rica das cordas por uma dominante organização musical - Clebanoff e Sua Orquestra.

Mesclando as influências de campos clássicos e populares, Clebanoff aplica seu próprio toque orquestral aos mais vendidos números da atualidade. O resultado é música belíssima e altamente atrativa para o ouvinte, independendo de época, lugar ou predileção. Cada música possui seu encanto inegável - aquele certo "quê" misterioso que a torna sucesso. Quanto a isso, apesar do selo inimitável de Clebanoff, os ouvintes familiarizados com as versões originais destas seleções notarão a pureza das traduções para este novo estilo pessoal. Nada foi perdido. E ao mesmo tempo, tanto foi ganho.

"Don't Set Me Free", de Ray Charles, conserva todo seu sentimento dos 'blues' - mesmo no seu invólucro de cordas grandiosas e suave percussão. Provando que seus músicos podem balançar no idioma leve do jazz, Clebanoff continua através das melhores canções da atualidade. Interpretações belíssimas de "The End of the World" - com seus arpejos chopinescos - e "Our Winter Love" demonstram a habilidade singular dessa orquestra de transformar melodias simples em memoráveis e duradouras sempre-vivas.

O sentimento gerado por esta versão orquestral de "Pipeline" surge com a excitação dos primeiros tempos do ouro negro. Antes de poder recuperar-se, se está a duas mil milhas de distância, no coração de Manhattan - com o lento, sonhador e noturno "Sax Fifth Avenue" fornecendo o transporte. Os temas cinematográficos "Follow the Boys" e "Days of Wine and Roses" soam como se houvessem sido especialmente criados para Clebanoff.

(Extraído das notas originais do LP)

Victor Young e Suas Cordas Cantantes - Música para Dois

  1. Her First Corsage
  2. Never Come Sunday (focalizando Ray Turner ao piano)
  3. Rita
  4. My Time of Day (do filme "Eles e Elas")
  5. Enamorando
  6. Bright Lights
  7. I Love Your Gypsy Heart (solo de violino por Anatole Kaminsky)
  8. Latin Nocturne (focalizando Ray Turner ao piano)
  9. Take Back Your Mink (do filme "Eles e Elas")
  10. Lover's Lane (focalizando Ray Turner ao piano)
  11. Night Song (focalizando Ray Turner ao piano)
  12. Summer Clouds
Música para Dois
    A envergadura e a versatilidade artísticas - para não mencionarmos a enorme popularidade - de Victor Young é comprovada pela vasta aceitação, pelo público mundial, de várias coletâneas fonográficas dedicadas ao saudoso músico e à sua obra.

    Young destacou-se tanto como regente, quanto como compositor em long-plays Decca de grande procura, tais como "Night Music", "Hollywood Rhapsodies", "Gypsy Music", "Cinema Rhapsodies", "For Whom the Bell Tolls" e "Golden Earrings", além de "Victor Young's Musical Sketch Book", uma seleção de suas mais importantes composições.

    Como sua música, a carreira de Victor Young foi espantosamente variegada. Nasceu ele em Chicago, no ano de 1900, herdando do pai o talento. Aos quatro anos de idade, Victor já dedilhava as cordas de um violino que lhe fora dado de presente pelo avô; aos seis já tocava melodias reconhecíveis nesse mesmo instrumento. Aos dez foi mandado para Varsóvia, a fim de morar com o avô. Foi na capital polonesa que atraiu a atenção do diretor do Conservatório Imperial, e para justificar tão lisonjeiro interesse, trabalhou com afinco. Posteriormente recebeu diploma do Conservatório e foi contemplado com um violino Guarnerius, a ele doado por um banqueiro polonês.

    Após a assinatura do armistício da Primeira Guerra Mundial, Young regressou aos Estados Unidos e desposou sua namorada polonesa, na California. Começou a tornar-se conhecido em sua pátria e passado algum tempo voltou para Chicago, onde passou a reger grandes orquestras em cinemas de luxo. Por essa época já se encontrava em condições de compor e arranjar sua própria música. Interessando-se pelo movimento jazzístico daqueles dias, transformou-se num dos mais entusiasmados expoentes deste grande gênero da música americana. Galgando novos planos em sua carreira, tornou-se diretor musical para Balaban e Katz. Nessa fase do decênio 1920-1930, toda a nação cantava "Sweet Sue", de sua autoria, o que ainda faz neste ano de 1957.

    Talvez seja Victor Young mais conhecido pelas muitas partituras que compôs para Hollywood. Consta ter ele contribuído com mais de duzentos números, temas e música de fundo para as películas cinematográficas. Foi, em verdade, um dos primeiros a conceber partituras para os filmes não apenas como caracterização de imagens e situações, mas ainda como pura música - música para o prazer do ouvinte de gosto musical.

    Este novo disco coletivo ratifica a atração exercida pela música de Victor Young e suas muito apropriadamente intituladas "Cordas Cantantes". É uma música ao mesmo tempo alegre e nostálgica, ligeira e duradoura, em seus matizes tonais. Escolhidas com um gosto pelas delicadas variações, estas melodias, com o seu amálgama de reminiscência e fascínio, se destina a qualquer ouvinte.

    (Extraído das notas originais do LP)

    Tommy Garrett - The Best of The 50 Guitars - Volume 3

    1. I Left My Heart in San Francisco
    2. Love Me with All Your Heart
    3. Lara's Theme
    4. You Don't Have to Say You Love Me
    5. Michelle
    6. You've Lost That Lovin' Feelin'
    7. Hung Up in Your Eyes
    8. My Special Angel
    9. If You Go Away
    10. Old Cape Cod
    11. Guitar Serenade
    12. Frenesi
    The 50 Guitars - Volume 3

    sábado, 24 de abril de 2010

    Tommy Garrett - The Best of The 50 Guitars - Volume 2

    1. Volare
    2. Non Dimenticar
    3. Come Back to Sorrento
    4. Anema e Core
    5. Return to Me
    6. Arrivederci Roma
    7. Love Theme from "La Strada"
    8. O Sole Mio
    9. Mattinata
    10. Ciao, Ciao Bambino
    11. Summertime in Venice
    12. The Good, the Bad & the Ugly
    The 50 Guitars - Volume 2

    sexta-feira, 23 de abril de 2010

    Tommy Garrett - The Best of The 50 Guitars - Volume 1

    1. Spanish Eyes
    2. Maria Elena
    3. South of the Border
    4. Besame Mucho
    5. Guantanamera
    6. Cherry Pink & Apple Blossom White
    7. Malaguena
    8. Granada
    9. Brazil
    10. Perfidia
    11. La Bamba
    12. La Virgen de la Macarena
    The 50 Guitars - Volume 1

    Born Thomas Lesslie Garrett 5 July 1939, Dallas, Texas

    Tommy Garrett was "Snuff" Garrett, A&R director for Liberty from 1958-1966, producer of numerous early 60s hits by white rock-n-roll artists such as Bobby Vee, Johnny Burnette, and Gary Lewis. Garrett also gave Phil Spector his first job in the business, as A&R man in New York for Liberty. He produced a series of LPs for Liberty under the name of "The 50 Guitars of Tommy Garrett," one of the least adventurous and most easy-listening guitar groups, usually arranged by Ernie Wilkins and with Tommy Tedesco as lead guitar. Garrett also produced a number of exotica recordings by "The Midnight String Quartet" and Jonathan Knight on the Viva! label.

    Recordings

        * 50 Guitars Go South of the Border, Liberty LSS-14005
        * 50 Guitars Go South of the Border, Volume 2, Liberty LSS-14016
        * 50 Guitars Visit Hawaii, LSS-14022
        * 50 Guitars Go Country, Liberty LSS-14025
        * 50 Guitars Go Italiano, Liberty LSS-14028
        * Maria Elena, Liberty LSS-14030
        * Bordertown Bandido, Liberty LSS-14031
        * Espana, Liberty LSS-14032
        * Return to Paradise, Liberty LSS-14033
        * Love Songs from South of the Border, Liberty LSS-14035
        * Viva Mexico, Liberty LSS-14036
        * 50 Guitars in Love, Liberty LSS-14037
        * 50 Guitars in a Brazilian Mood, Liberty LSS-14038
        * More 50 Guitars in Love, Liberty LSS-14039
        * Six Flags Over Texas, Liberty LSS-14040
        * Our Love Affair, Liberty LSS-14041
        * El Hombre, Liberty LSS-14042
        * The Sound Of Love, Liberty LSS-14044
        * The Best of the 50 Guitars, Liberty LSS-14045
        * Mexican Leather and Spanish Lace, Liberty LSS-14046
        * 50 Guitars for Midnight Lovers, Liberty LSS-14047
        * The 50 Guitars of Tommy Garrett Go South of the Border, Volume 3, United Artists UAS-5528
        * Down Mexico Way, United Artists UA-LA 123-F
        * The Way of Love, United Artists UAS-5569
        * You're a Lady, United Artists UA-LA039-F

    Bert Kaempfert - Série Autógrafos de Sucesso

    1. Afrikaan Beat
    2. Stardust
    3. Dancing in the Dark
    4. Caravan
    5. Unchained Melody
    6. Tijuana Taxi
    7. My Way of Life
    8. Swingin' Safari
    9. Blue Moon
    10. Wonderland by Night
    11. Red Roses for A Blue Lady
    12. Besame Mucho
    Autógrafos de Sucesso

    quinta-feira, 22 de abril de 2010

    Dick Haymes - The Very Best of Dick Haymes - Volume 2

    1. It Might As Well Be Spring
    2. I'm Always Chasing Rainbows
    3. Slowly
    4. Oh! What It Seemed to Be
    5. In Love in Vain
    6. For You, For Me, For Evermore
    7. How Are Things in Glocca Morra
    8. Mam'selle
    9. Ivy
    10. I Wish I Didn't Love You So
    11. And Mimi
    12. Teresa
    13. Little White Lies
    14. You Can't Be True, Dear
    15. Nature Boy
    16. It's Magic
    17. Room Full of Roses
    18. Maybe It's Because
    19. The Old Master Painter
    20. Count Every Star
    The Very Best - Vol. 2
    Vocal Accompaniment:

    Track 13 & 19 with Four Hits And A Miss
    Track 14 & 15 with The Song Spinners
    Track 18 with The Tafflers

    Orchestral Accompaniment:

    Tracks 1 & 3 under The Direction of Victor Young
    Tracks 2, 4 & 5 under The Direction of Earle Hagen
    Tracks 6-9, 11, 13, 16 & 18 under The Direction of Gordon Jenkins
    Track 12 under The Direction of Vic Schoen
    Track 19 under The Direction of Sonny Burke
    Track 20 with Artie Shaw and His Strings and Woodwinds

    In the liner notes to the first installment of this two volume Dick Haymes retrospective, we reviewed the path that Haymes followed to lead him through the ranks of the big band era until, when he decided to launch his career as a soloist in 1943, he was instantly transported to the rarefied heights of superstardom. So pervasive was his influence that a number of imitators soon appeared, but we might do well to pause before considering their merits and dwell for a moment on the forces which helped to shape the Haymes approach in the first place.

    Like his contemporaries Frank Sinatra and Perry Como, he started out under the inescapable sway of Bing Crosby, the singer who virtually defined the modern popular vocal. In time, Haymes narrowed the focus of his admiration to one of Crosby's ablest disciples, band singer Bob Eberly. "There wasn't a boy singer in the business who had a better voice box than Dick Haymes - not even Bob Eberly, whom Dick worshipped so much", noted George Simon, former 'Metronome' writer and author of "The Big Bands". Simon also recalled that Dick was shocked to witness his idol smoking on the job, a habit he considered unprofessional (though it is sadly ironic to remember that Haymes overcame this aversion, and that lung cancer contributed to his premature death). The early vocal training that Dick received from his mother Marguerite left him acutely aware of all the potential hazards, such as cigarette smoke, improper breathing, and an incorrect stance while performing, that lay in waiting to sabotage a singer's best efforts. This accounts in large part for the technically flawless nature of his mature performances.

    Haymes's additions to the Crosby tradition include a strikingly masculine virility and a deep, seamless baritone voice so peculiarly "throaty" in its resonance that members of bandleader Bob Crosby's outfit facetiously nicknamed him "Phlegm". "I remember vividly the impact he had on women in our audiences - and the reactions of their escorts", recalled Dick's former accompanist Bobby Scott. "It created situations of true danger". No one ever caressed a romantic lyric with more warmth and conviction, but before long there were any number of "would-be Dicks" willing to try. The two most prominent graduates of "the Haymes school" were Bob Manning, who scored hits for Capitol Records in the early 1950s, and David Allyn, who stretched the boudaries of the Haymes approach in collaboration with such progressive jazz figures as Boyd Raeburn. Less well-remembered today are singers like Billy Usher, who waxed some fine sides with Sonny Dunham and Randy Brooks (with whom he went so far as to record his own derivative version of "That's For Me") before launching a solo career that failed to catch fire. Genetic happenstance also relegates Dick's younger brother Bob to this group. Bob Haymes, who later changed his professional name to Robert Stanton, made some fine sides with several bands, including those of Bob Chester and Freddy Martin, before abandoning a solo career to concentrate on his songwriting, a move that produced, among many other sensitive compositions, the lovely standard "That's All".

    Our present anthology opens on a high note with Dick's definitive reading of "It Might As Well Be Spring" from the soundtrack of Fox's 1945 film musical, 'State Fair'. Another Haymes film, "The Shocking Miss Pilgrim" from 1947, is represented here by the tender duet "For You, For Me, For Evermore" (contractual conflicts prevented his co-star, Betty Grable, from making the record with Dick, so Decca label-mate Judy Garland was pressed into service as a most delightful substitute). "Slowly", though a hit for both Haymes and Kay Kyser, is today a forgotten song that was taken from a 1945 Fox film entitled "Fallen Angel". "Mam'selle", a continental charmer from the Fox film "The Razor's Edge" that topped the charts for both Sinatra and Art Lund in 1947, has proved much more enduring. This winning Haymes performance peaked at #3 (it is interesting to note that later in the same year, Art Lund was again Dick's main competition for chart honors with the similarly Gallic-flavored ballad "And Mimi").

    The remaining movie music collected here includes "I Wish I Didn't Love You So" from 'The Perils of Pauline (Paramount, 1947)', and "It's Magic", the musical highlight of Doris Day's screen debut, "Romance on the High Seas (Warner Brothers, 1948)". "Ivy" was the title track of a Unviversal-International picture, and there is acharming story connected with this 1947 Haymes recording. One of Dick's idolaters, Bob Manning, had waxed his own competing version of the tune on the MGM label as boy vocalist with the Ziggy Elman band. When he finally came face to face with his hero backstage at the Steel Pier in Atlantic City, Manning was awestruck to learn that Dick was familiar with his recording. "One of us", Haymes jokingly told the newcomer, "had better change our style".

    "I'm Always Chasing Rainbows" from 1945 is the first of three duet performances with Helen Forrest collected here, including "Oh! What It Seemed to Be" from the same session, and "In Love in Vain" from 1946. Dick's early admiration for Bob Eberly makes it worth noting how these recordings parallel a similarly successful collaboration that Eberly enjoyed with Helen O'Connell when both were employed by bandleader Jimmy Dorsey. "Bob Eberly was bigger than all of us, you know, with Jimmy Dorsey", Haymes once gushed to interviewer Fred Hakk. "I mean, hell, when he was singing "Amapola" and "Green Eyes"...and all those things with Helen O'Connell...he was the hottest thing". A significant difference between the pairings, however, is that Haymes and Forrest both explored the same arrangement, while Eberly would typically croon his assignment with Dorsey, to be followed by Helen O'Connell gleefully treating her part as an up-tempo romp.

    By the mid-1940s, on both records and the radio, Haymes had embarked on a mutually rewarding collaboration with arranger and conductor Gordon Jenkins. A gifted songwriter and popular recording artist in his own right, as an arranging talent Jenkins had few peers. "Gordon wrote such lovely countermelodies", commented singer John Gary recently, "that you can take the vocal away his arrangements would still stand on their own merits". The 1946 performance of "How Are Things in Glocca Morra?" from Broadway's "Finian's Rainbow" and "Maybe It's Because" from 1949 are perfect illustrations of the always tasteful Haymes-Jenkins partnership. The two men scored their greatest triumph in 1947 with Dick's recording of "Little White Lies". "The truth of the matter is that 'Little White Lies' was an afterthought", Haymes later recalled. At the end of a recording session, with an hour of studio time leftover, Jenkins suggested that the assembled group take a stab at this simple ballad, which had first been popularized by Fred Waring in 1930. He quickly sketched our parts for Dick, the musicians, and the accompanying vocal ensemble, Four Hits & A Miss. To compound matters, legend has it that Haymes was suffering from a bad cold that day, and was anxious to wrap things up. The result was a smash hit that quickly turned gold. "I'm still not in love with the record", Haymes later confessed, "but I must respect it. It was just an accident".

    "Teresa" is a pleasant 1947 duet performance that teams Dick with The Andrew Sisters, who later joined forces with Haymes on the 'Club 15' radio program. Four months after this session, the recording ban of 1948 forced Dick to return to the 'a capella' format that brought him his initial Decca success in 1943, and he re-teamed with the Song Spinners to record "You Can't Be True, Dear" and "Nature Boy". "Room Full of Roses" from 1949 is a nice change of pace, with Haymes sounding surprisingly at home on this country classic from the pen of The Sons of The Pioneers' Tim Spencer. "The Old Master Painter" is a rousing novelty that enjoyed quite a vogue in 1950, when no less than six different major label recordings battled for recognition. Our final track, "Count Every Star" from 1950, is a return to the more traditional ballad format. It found Dick paired with Artie Shaw just a few short years before the clarinetist began his self-imposed retirement.

    "The peak years were 1946-47", Dick Haymes once reflected. "It was averaging up to $25,000 a week just on record royalties, radio, movies - without even personal appearances. They were paying me as much as $300,000 per movie and I made at least two a year". by the early 1950s, it started to fall apart. Problems with alcohol and a series of high profile divorces took their toll, and the coming of rock and roll certainly didn't help matters. Haymes parted company with Decca and turned out a pair of brilliant albums for Capitol in 1955, but the sad truth is that his visits to the recording studio grew increasingly sporadic in the last two decades of his life. His magnificent voice withstood the tests of time practically unblemished, however, and it is hard to imagine that future generations won't judge us harshly for not making a more concerted effort to capture it for posterity. The shortsightedness of it all makes one shudder (it's like keeping Norman Rockwell from his paints, or depriving John Steinbeck of pen and paper). His final recording efforts in the late 1970s were financed by members of his appreciation society (bless their souls!). When Dick Haymes died in Los Angeles on March 28, 1980, he left behind a legacy that has thrilled millions, and is sure to bring joy to countless more in the future.

    Enjoy these recordings, and revel in the ease with which this great artist somehow manages to revive such discarded concepts as romance, chivalry, and innocent, old-fashioned, wide-eyed love. Forget the cares of the moment, and let your imagination run free. After all, whenever you're lost in the special magic of Dick Haymes, it might as well be spring...

    (Joseph F. Laredo, from the original liner notes)

    Orquestra Românticos de Cuba - Cuba Libre - Volume 2

    1. Malagueña
    2. Blen! Blen! Blen!
    3. Adios, Mariquita Linda
    4. Bruca Maniguá
    5. Canto Indio
    6. Cachita
    7. Night Must Fall
    8. Rumba Blanca
    9. Always in My Heart
    10. Tropical Magic
    Cuba Libre Vol. 2

    Orquestra Românticos de Cuba - Cuba Libre - Volume 1

    1. Vereda Tropical
    2. Carioca
    3. Danse Avec Moi
    4. Pa-Ran-Pan-Pan
    5. Cerejeira Rosa
    6. El Manisero
    7. Côte D'Azur
    8. Negra Consentida
    9. Cubanacan
    10. Lamento Borincano
    Cuba Libre - Vol. 1

    Orquestra Românticos de Cuba - No Cinema Vol. 1

    1. Smile / Limelight
    2. C'est Magnifique / With A Song in My Heart
    3. Love Is A Many Splendored Thing / Unchained Melody
    4. The Song from Moulin Rouge / The Last Time I Saw Paris
    5. Que Será, Que Será / Gigi
    6. Around the World / Tammy
    7. Spellbound / Invitation
    8. An Affair to Remember / Moonglow
    9. Manhã de Carnaval / Mulher Rendeira
    10. As Time Goes By / A Woman in Love
    11. Three Coins in the Fountain / Laura
    12. Colonel Bogey / Love Me or Leave Me
    No Cinema Vol. 1

    quarta-feira, 21 de abril de 2010

    Dick Haymes - The Very Best of Dick Haymes - Volume 1

    1. It Can't Be Wrong
    2. In My Arms
    3. You'll Never Know
    4. Wait for Me, Mary
    5. I Never Mention Your Name
    6. I Heard You cried Last Night and So Did I
    7. Put Your Arms Around Me, Honey
    8. For the First Time (I've Fallen in Love)
    9. Long Ago (And Far Away)
    10. How Blue the Night
    11. It Had to Be You
    12. Together
    13. Laura
    14. The More I See You
    15. I Wish I Knew
    16. I'll Buy That Dream
    17. Some Sunday Morning
    18. Till the End of Time
    19. Love Letters
    20. That's for Me
    The Very Best - Vol. 1
    Vocal Accompaniment:

    Tracks 2-8 with The Song Spinners

    Orchestral Accompaniment:

    Track 9 under The Direction of Camarata
    Track 10 under The Direction of Lionel Newman
    Track 11-16, 18-20 under The Direction of Victor Young
    Track 17 under The Direction of Gordon Jenkins

    If you love the great American songbook, and sincerely believe that the efforts of our finest writers have produced musical compositions every bit as valid and timeless as the masterworks of Verdi and Puccini, then chances are you hold in your heart the same amount of affection and respect for Dick Haymes that others might reserve for names like Caruso and Gigli. In the 1940s, Dick Haymes emerged as a master balladeer with the most impressive set of pipes since Bing Crosby, and an incredible degree of warmth, control, and technique that can still provoke sighs of admiration today, more than a half-century after some of his finest recordings were made. "I have had uncountable conversations with singers about singers", wrote critic Gene Lees, "and Dick Haymes' name would be on the most-admired list of almost every one of them".

    He was born Richard Benjamin Haymes in Buenos Aires, Argentina on September 13. Though numerous reference works list 1916 as the year, our good friends at the Haymes Society insist that this is a long-standing misconception, and the actual year was 1918. His father was a cattle rancher of Scottish and English descent named Benjamin, and his mother was a lovely and accomplished vocalist of Irish stock named Marguerite. The couple divorced after Benjamin was bankrupted by drought, and shortly thereafter Dick and his younger brother Bob (about whom we'll speak more in the notes to Volume II) embarked with their mother on a series of travels that took them to Europe. Contrary to the all-American, boy next door image bestowed on Haymes by his Hollywood musicals, the youngster received quite a cosmopolitan upbringing, studying for a time in Paris and becoming fluent in both Spanish and French. As for his budding vocal talent, the only formal training he ever received came from his mother. This proved a sore point in later years when Marguerite opened a studio and set up shop as a vocal coach, publishing a pamphlet entitled "The Haymes Way" which Dick felt overstated her influence on his development.

    Settling in New York in the early 1930s, young Haymes began singing with various local bands at country clubs and New Jersey shore resorts. At the age of 17 he thumbed his way to Los Angeles, where he briefly headed a musical combo dubbed The Katzenjammers, but mostly kept body and soul together with stunt work at various Hollywood studios, falling off horses in B Westerns and such (he reportedly took a seventy-five foot leap from a masthead for the 1935 M-G-M production of "Mutiny on the Bounty"). By age 19 he'd returned to New York, where he decided to impress upon bandleader Harry James the worthiness of his songwriting talent. James was unmoved by such original Haymes compositions as "Lovingly Yours" and "River Road", but he was thrilled by the newcomer's vocal ability and hired him to replace the departing Frank Sinatra. After two years with the James Band, a period which produced such marvelous Columbia recordings as "You've Changed" and "I'll Get By", Haymes worked briefly with Benny Goodman (scoring a hit with "Idaho" in 1942), before he again replaced Frank Sinatra, this time with Tommy Dorsey. Regrettably, a recording ban prevented Haymes from entering the studio with the Dorsey band, and our only significant souvenir of their association is an air check recording of an excellent 1942 rendition of "Daybreak".

    Haymes decided to embark on a solo career in 1943, and a major breakthrough soon came his way in the form of a pivotal engagement at New York's La Martinique night club. "All hell broke loose out of there", he later recalled. "I stayed for three months...got a coast-to-coast radio show, got my 20th Century-Fox contract out of there, got my Decca contract out of there". Haymes was signed to replace Buddy Clark on the CBS radio program "Here's to Romance". When he started to record for Decca, however, the lush orchestrations that accompanied his work over the airwaves had to be left behind. The recording ban that had hampered his stay with Dorsey was still in progress (it was the first of two protracted strikes, prompted by a dispute over broadcast royalties, ordered by the American Federation of Musicians' formidable president, James Petrillo). With musicians refusing to enter the studio, Haymes vocals were instead backed by the choral support of a singing group known as the Song Spinners. It was an interesting sound that had yet to be proven commercially viable. Expecting a relatively modest start in such uncharted waters, both Decca and Haymes were delighted when their initial effort, "You'll Never Know", became a number one, million-selling performance. The follow-up, "It Can't Be Wrong", was similarly successful. The first eight sides of this collection were all performed in the 'a capella' style, and in 1943 they were combined to form the A and B-sides of four highly successful singles.

    "Long Ago (And Far Away)", a #2 hit from 1944, is the first of eighteen magnificent duet recordings that Dick Haymes made during his Decca years with Helen Forrest, an old friend from his days with Harry James. Miss Forrest also performed with Artie Shaw and Benny Godman, and her warm, melodic vocals left an indelible imprint on the big band era. Her partnership with Haymes was an inspired coupling based on mutual affection and respect. "God, I loved that man!", she recalled in her conversational 1982 autobiography "I Had the Craziest Dream". In my mind, no one ever sang a love song better than Dick, not Sinatra, not anyone". From 1944 to 1947 this partnership was showcased, along with Gordon Jenkins and his Orchestra, on a series of hugely popular radio programs sponsored by the Auto-Lite spark plug company. This collection contains and additional four Haymes-Forrest duets: "It Had to Be You" and "Together", the A and B-sides of a hit single from 1944, and another double-sided success from the following year that joined "I'll Buy That Dream" with "Some Sunday Morning" on the flip side.

    " 'How Blue the Night' was a pretty song", is how Dick recalled the lilting Jimmy McHugh-Harold Adamson composition that was featured in "Four Jills In a Jeep", a pleasant cinematic trifle about a U.S.O. tour of Africa that constituted his debut effort for Twentieth Century-Fox in 1944. Haymes soon moved on to grander productions, and the recordings of "The More I See You" and "I Wish I Knew" collected here were featured in an elaborate Fox musical from 1945 entitled "Billy Rose's Diamond Horseshoe". The production paired him for the first time with Betty Grable, the studio's top musical comedy star. Accompanied by Victor Young and his orchestra, Haymes made both titles big hits. For years afterward he employed "The More I See You" to telling effect as the closing song of his nightclub act, setting the scene of youthful innocence for his audiences in which his hopelessly smitten character warbles the tune to Grable, and then delivering the romantic lyric in all its glory.

    "Laura" is another memorable piece of film music, though at first it was merely a haunting instrumental theme penned by David Raksin for a 1944 Fox film of the same title. After Johnny Mercer graced the melody with a lyric, it was introduced over the radio by Capitol artist Johnnie Johnston, and provided Woody Herman with a gold record for Columbia in 1945. "Love Letters" is also a movie tune, borrowed from a 1945 Paramount production of the same name. After Haymes made the song a hit that same year, it somehow fell out of the popular repertoire and was seldom heard from again until Kitty Lester revived its tender sentiments in a 1962 recording for Era. "Till the End of Time" followed "Tonight We Love", "My Reverie", and other popular successes in the time-honored tradition of revamping classical music for more contemporary use. the theme was based on Chopin's "Polonaise in A-flat major, Opus 53", which had recently been popularized by Columbia's 1945 film biography of the composer, "A Song to Remember". Ted Mossman retooled the music, while Buddy Kaye added some words. The result was a stirring piece of material that brought Perry Como a #1 RCA hit, while Dick's equally impressive rendition peaked at #3.

    The final track in this collection, "That's For Me", comes from what is considered by many admirers to be Dick's finest moment on celluloid, the 1945 Fox adptation of Rodgers and Hammerstein's "State Fair". It remains, in the phrase of movie historian James Robert Parish, "one of the loveliest of film musicals". "It's ironic", Haymes confided to jazz critic Leonard Feather in 1973, "but that wound up being so much my movie that people associate me with performing that entire Rodgers and Hammerstein score. I did "It's A Grand Night For singing" and "Isn't It Kind Fun", but "That's For Me" was introduced by Vivian Blaine, and "It Might As Well Be Spring" was dubbed by Louanne Hogan for Jeanne  Crain". The entire score became indelibly linked with Haymes, however, when Dick's Decca recordings of those numbers assigned to the other performers in the film were paired as both sides of an enormously popular single release in 1945. His renditions of "That's For Me" and "It Might As Well Be Spring" are quite simply the definitive performances. If by now you've decided that this sort of peerless balladeering is indeed for you, then you will be pleased to learn that the latter title has been chosen to open Volume II of the Taragon's label's Dick Haymes retrospective. selected from a stunning array of brilliant performances, there are an additional twenty musical treasures that await your listening pleasure.

    (Joseph F. Laredo, from original album notes)

    "Faultless" would be a good word to describe this 20-song compilation, which contains every one of Dick Haymes' Top 20 hits from the start of his solo career in 1943 to the fall of 1945, a period when he was one of the most successful recording artists in the U.S. His biggest hit of the period was the gold-selling chart-topper "You'll Never Know," but he also waxed the most popular versions of the Top Ten hits "It Can't Be Wrong," "In My Arms," "Put Your Arms Around Me, Honey (I Never Knew Any Girl Like You)," "I Wish I Knew" and "The More I See You" (the last two from the film Billy Rose's Diamond Horseshoe, in which he starred), and a clutch of duets with Helen Forrest including "Long Ago (And Far Away)," "Together," "I'll Buy That Dream" and "Some Sunday Morning." All are included here in their original Decca recordings. Due to the musicians union recording ban, the first eight tracks were recorded a cappella with a vocal chorus, but with any backing Haymes' smooth voice delivers the songs' romantic sentiments beautifully. There are excellent liner notes by Joseph F. Laredo. Volume 2 is also recommended. ~ William Ruhlmann, All Music Guide

    Dick Haymes was one of the most splendid ballad singers of his era, the near-equal of Crosby and Sinatra on classics of the form like "It Can't Be Wrong," "Till the End of Time" and "It Might as Well Be Spring." Though he was unable to cash in during the '50s golden era of adult-pop (due to alcoholism, troubles with the government, and a few tempestuous relationships), Haymes continued performing and recording until his death in 1980.

    Born in Buenos Aires in 1918, Haymes was the son of British parents, who at the time were living on the cattle ranch they owned in Argentina. After they separated, he was reared by his mother in Paris before the Depression crippled their finances. He spent the rest of his formative years in the United States, where his mother performed as a singer. Haymes made his own professional debut at the age of 15, singing with a hotel band in New Jersey while on summer vacation. He left school in 1933 to move to Hollywood, and worked as a stuntman or extra on several films during the mid-'30s. After writing a few songs in 1939, he approached Harry James with hopes the bandleader would buy them; though James wasn't very impressed with his songwriting skills, he hired Haymes one year later, to replace Frank Sinatra as his leading male singer.

    During 1941-42, Dick Haymes recorded a few hits with James, including "A Sinner Kissed an Angel" and "The Devil Sat Down and Cried." (His biggest hit with James, "I'll Get By (As Long as I Have You)," hit number one in 1944, three years after its recording.) Haymes also sang with Benny Goodman and Tommy Dorsey before signing to Decca in 1943. One of his first singles, "You'll Never Know," hit number one in July 1943. Another, "It Can't Be Wrong," was also a substantial hit at the same time. He moved from extra to starring roles in Hollywood, most notably appearing in 1945's State Fair, and scored a Top Five hit with the Oscar-winning "It Might as Well Be Spring" from the film. Though he never again scored another number one hit, Haymes spent much of the mid-'40s near the top of the charts with the songs "Put Your Arms Around Me, Honey," "Laura," "Till the End of Time" and "That's for Me." He also hosted a radio show with Helen Forrest, and starred in several more films after the success of State Fair.

    Though the hits continued until the end of the decade, both Haymes' professional and personal life began to decline. He divorced his wife, actress Joanne Dru, began drinking heavily, and mishandled his finances. Many of his film appearances were panned and he was eventually dropped from his movie and recording contracts. A whirlwind romance and two-year marriage to Rita Hayworth hardly settled things down; when added to immigration and tax troubles, it made for a very obvious low point in the singer's life.

    He began a professional comeback in 1955, thanks to a contract with Capitol Records, the foremost label for adult pop. Haymes recorded two LPs for Capitol, Rain or Shine and Moondreams, but continued to be plagued by alcoholism. After moving to Ireland in the early '60s, Haymes finally kicked his drinking habit and returned to recording with 1969's Now and Then, which alternated Haymes classics with more contemporary material. He moved back to America in the '70s, performing numerous club dates and recording a live album at Cocoanut Grove. He last recorded in 1978, and lost his long bout with cancer two years later. ~ John Bush, All Music Guide

    terça-feira, 20 de abril de 2010

    Caravelli - Interprete / plays Julio Iglesias

    1. Begin the Beguine
    2. When I Fall in Love
    3. Mes Trente-Trois Ans (33 años)
    4. Pauvres Diables (Pobre Diablo)
    5. C'Est Ma Vie (Júrame)
    6. Fidele (Amantes)
    7. All of You
    8. Ile Au Soleil (Isla En El Sol / Island in the Sun)
    9. Quand Tu N'Es Plus La (Caminito)
    10. Je N'Ai Pas Change (No Vengo Ni Voy)
    11. To All the Girls I've Loved Before
    12. Aimer La Vie (Soy Un Truhán)
    13. Ou Est Passee Ma Boheme? (Quiereme Mucho)
    14. Abrazame
    15. Manuela
    16. Il Faut Toujours Un Perdant (Hey)
    17. Nathalie
    18. Le Monde Est Fou, Le Monde Est Beau (A Veces Tu, A Veces Yo)
    19. Une Nuit de Carnaval (Paloma Blanca)
    20. J'Ai Besoin de Toi (Cada Dia Mas)
    Plays Julio Iglesias

    segunda-feira, 19 de abril de 2010

    Les Baxter - Baxter's Best

    1. The Poor People of Paris (Jean's Song)
    2. The Medic Theme (Blue Star)
    3. I Concentrate on You
    4. Ruby
    5. Unchained Melody
    6. Calcutta
    7. Because of You
    8. April in Portugal
    9. All the Things You Are
    10. Blue Tango
    11. Wake the Town and Tell the People
    12. The Shrike
    13. Never on Sunday
    14. I Love Paris
    15. Quiet Village
    16. The High and the Mighty
    Baxter's Best
    This may not be his "best" if you favor his more adventurous and weirder outings; these are the kind of Baxter productions that became building blocks of the easy listening genre. However, these 16 tracks from 1951-1961 are among his most popular successes, including the hits "The Poor People of Paris," "Blue Tango," "Wake the Town and Tell the People," and "Unchained Melody." ~ Richie Unterberger, All Music Guide

    LES BAXTER...man of many hits in many musical styles...presents his most popular successes.

    Les Baxter has never been overly concerned with transient fads and trends. While others have comp´lained about the "decline in public taste", Les has become famous by sticking to his belief that a fine melody, presented with imagination and an interesting sound, will always find favor with the public. These selections certainly prove his point - and make a great album besides.

    Les Baxter was already well known for his outstanding instrumental backings on many hit recordings when he caused a sensation in 1951 with his unique arrangement of one of his own compositions. The tune was "Quiet Village", and its exotic style started a new trend in music which is still climbing in popularity.

    Then, in rapid succession, came his hit version of "Blue Tango" and the haunting "April in Portugal". It was the Baxter treatment of "I Love Paris" from "Can-Can" which did most to help that Cole Porter song become a part of nearly every popular performer's repertoire.

    In 1953, Les came right back with another big hit, "Wake the Town and Tell the People". Then, exploring other fields of entertainment, he emerged with two great motion-picture themes, "The High and the Mighty" and "Unchained Melody". as before, the success of these recordings did much to establish these songs as standards.

    Turning to television, Les recorded the theme from "Medic: Blue Star", another beautiful melody to find public favor via the Baxter treatment. Next in line was that Baxter smash, "The Poor People of Paris", a lively number which was imported from Europe.

    Taken singly or together, these tunes offer dramatic examples of Les's versatility and impeccable taste. So it's no wonder that he pays title attention to musical fads, for there is no need to follow trends in music when you can successfully set them yourself. And that's just what Les Baxter does, time and time again.

    (From the original liner notes)

    Les Baxter is a pianist who composed and arranged for the top swing bands of the '40s and '50s, but he is better known as the founder of exotica, a variation of easy listening that glorified the sounds and styles of Polynesia, Africa, and South America, even as it retained the traditional string-and-horn arrangements of instrumental pop. Exotica became a massively popular trend in the '50s, with thousands of record buyers listening to Baxter, Martin Denny, and their imitators. Baxter also pioneered the use of the electronic instrument the theremin, which has a haunting, howling sound.

    Baxter studied piano at the Detroit Conservatory and Pepperdine College in Los Angeles. After he completed school, he abandoned the piano and became a vocalist. When he was 23, he joined Mel Tormé's Mel-Tones. The group sang on Artie Shaw records, including the hit "What Is This Thing Called Love."

    In 1950, he became an arranger and conductor for Capitol Records, working on hits by Nat King Cole, including "Mona Lisa." Around the same time, Baxter began recording his own albums. In 1948, he released a triple-78 album called Music out of the Moon, which ushered in space-age pop with its use of the theremin. Four years later, he began recording exotica albums with Le Sacre du Sauvage.

    On his early-'50s singles Baxter was relatively straightforward, performing versions of standards like the number one hits "Unchained Melody" and "The Poor People of Paris," but on his albums he experimented with all sorts of world musics, adapting them for his orchestra. As he was recording his exotica albums, Baxter was also the musical director for the radio show Halls of Ivy, plus Abbott & Costello radio shows; he also composed over 100 film scores, concentrating on horror movies and teenage musicals and comedies, though he also did dramas like Giant.

    Baxter's heyday was in the '50s and '60s. Although he continued to compose and record in the '70s, his output was sporadic. Nevertheless, a cult following formed around his exotica recordings that persisted into the '90s. ~ Stephen Thomas Erlewine, All Music Guide

    domingo, 18 de abril de 2010

    Percy Faith and His Orchestra - Shangri-La!

    1. Shangri-La
    2. Kashmiri Song
    3. The March of Siamese Children
    4. Stranger in Paradise
    5. Cherry Blossom
    6. Song of India
    7. Mountain High, Valley Low
    8. Beyond the Reef
    9. The Moon of Manakoora
    10. And This Is My Beloved
    11. Sayonara
    12. Return to Paradise
    Shangri-La!

    Shangri-La! has even less legitimacy as a musical journey through the South Seas and the Far East, as its title, referring to a fictional utopia, suggests. These are Faith's arrangements of songs written mostly in Broadway and Hollywood for shows and films set in Asia and the Pacific Rim, such as Kismet and The King and I. The strings weave an alluring mystery, but the music was not made on location. ~ William Ruhlmann, All Music Guide

           
    Percy Faith was one of the most popular easy listening recording artists of the '50s and '60s. Not only did he have a number of hit albums and singles under his own name, but Faith was responsible for arranging hits by Tony Bennett, Doris Day, Johnny Mathis, and Burl Ives, among others, as the musical director for Columbia Records in the '50s.

    Born and raised in Toronto, Canada, Faith was a child piano prodigy, giving his first recital at Massey Hall at the age of 15 and playing various movie theaters, providing the soundtrack to silent films. His career as a concert pianist was cut short when he injured his hands in a fire when he was 18. Faith moved into arranging, beginning with local, hotel orchestras but quickly moving to radio. It was here where he developed his lush pop-instrumental style. For most of the '30s, he worked on Canadian Broadcast Company. At the end of the decade his radio show, Music by Faith, was also being aired within the United States.

    Upset with CBC slashing the budget of his program, Faith moved to Chicago in 1940. Shortly afterward, he relocated to New York; by 1945, he had become an official U.S. citizen. Working for NBC in New York, he arranged and conducted for a number of shows and singers, including Coca-Cola's radio show and Buddy Clark. During the late '40s, he recorded for both Decca and RCA Victor.

    Faith joined Columbia Records as musical director and a recording artist in 1950. While he arranged traditional pop songs, as well as show tunes, folk songs, and traditional pop songs for the label's vocalists, Faith became a pioneer of easy listening "mood music" with his own albums. In addition to popularizing the light, orchestrated pop, he was the first to record albums solely consisting of songs from Broadway shows; he also was one of the first mainstream composers/arrangers to experiment with Latin rhythms.

    Faith had his first number one single, "Delicado," in 1952. In the mid-'50s, he began composing film scores, beginning with the Oscar-nominated collaboration with George Stoll, Love Me or Leave Me. But he scored his biggest hit of the 1960s with a piece of music written by another film composer. His late-1959 recording of Max Steiner's "The Theme From 'A Summer Place'" became a number one hit in 1960 and earned Faith his first Grammy. As rock & roll took over popular music in the early '60s and his work became more schlocky in format (easy listening arrangements of Beatles and pop/rock songs, etc.), the musical quotient remained high, thanks in large part to Faith's arranging skills and penchant for picking good material. Faith slowly withdrew from a professional career in the late '60s, but continued recording until just before his death in 1976. ~ Stephen Thomas Erlewine & Cub Koda, All Music Guide

    sábado, 17 de abril de 2010

    Poly e Seu Conjunto - Grandes Sucessos de Poly

    1. Delicado
    2. Lábios de Mel
    3. Orgulho
    4. Recusa
    5. Moonlight Fiesta
    6. Escuta
    7. Tico Tico no Fubá
    8. Brasileirinho
    9. Maracangalha
    10. Hawaiian Paradise
    11. Moonlight in Rio
    12. Hawaiian Dreams
    Grandes Sucessos
    Ângelo Apolônio, de nome artístico Poli, muitas vezes grafado com Y, Poly (São Paulo, 8 de agosto de 1920 — São Paulo, 10 de abril de 1985) foi um multiinstrumentista (violão, cavaquinho, bandolim, banjo, contrabaixo, viola, guitarra havaiana) & Compositor brasileiro, tendo desde os 10 anos demonstrado habilidade com os instrumentos de cordas.

    Começou sua carreira artística na década de 1930, em São Paulo, quando passou a acompanhar cantores populares de então: Januário de Oliveira, Paraguaçu e Arnaldo Pescuma. Em 1937, foi chamado para trabalhar no conjunto Regional da Rádio Difusora paulista, como violonista e solista de cavaquinho e bandolim. Na mesma época, integrou o conjunto vocal Grupo X, que concorria com o Bando da Lua. Compôs sua primeira música em 1939, uma valsa intitulada "Você", com letra de José Roberto Penteado, que nunca foi gravada. Foi esse parceiro que sugeriu o nome artístico Poli, abreviatura de Apolônio.

    Em 1940, foi convidado pelo também multiinstrumentista Garoto para trabalhar em seu regional no Rio de Janeiro. Com o Regional de Garoto, atuou no Cassino Copacabana, na Rádio Clube do Brasil, na Rádio Mayrink Veiga e ainda gravou alguns discos. Em 1944, gravou seu primeiro disco solo, tocando guitarra havaiana interpretando os fox-troptes "Deep in the heart of Texas", de Don Swander e June Herchey e "Jingle, jangle, jungle", de J. L. Lilley e F. Loesser. No mesmo ano interrompeu suas atividades musicais para servir à F.E.B. na Itália, só retornando após o fim do conflito.

    No ano seguinte gravou, com um conjunto liderado por ele e intitulado Poli e Seus Havaianos o fox-trote "Lime house blues", de Philip Braham e o fox-blue "Isle of dream", de sua autoria. Nessa época, passou uma temporada em Porto Alegre, trabalhando na Rádio Farroupilha, chegando a integrar o Conjunto Farroupilha a convite de Tasso Bangel. Com eles fez excursão pela Europa, Japão e EUA. Retornando ao Brasil, trabalhou em várias boates paulistas, tais como a Clipper e a Roof da Gazeta. Em 1948, gravou ao violão os choros "Sonho divino", parceria com Lupe Ferreira e "Colibri", de sua autoria.

    Em 1951, criou o grupo Poli e seu ritmo com o qual gravou tocando guitarra havaiana na Todamérica o beguine "Begin the beguine", de Cole Porter e o fox-trot "Cavaleiros do céu", de Stan Jones. No ano seguinte, gravou com o mesmo grupo o choro "Meteoro", de sua autoria e o bolero "Saudade", de Jaime Redondo. Nesse ano, gravou mais dois discos com ourtro grupo intitulado Poly ( com Y ) e seus Modernistas. No primeiro disco, estavam o baião "Turista" e o chorinho "Dois de junho", de sua autoria. No segundo disco, tocou guitarra havaianano beguine "Jezebel", de Shanklin e no fox-trot "At sundown", de Donaldson. Ainda nesse ano, passou a atuar na gravadora Todamérica acompanhando com seu conjunto gravações de diferentes a começar pela dupla Cascatinha e Inhana na canção "Ave Maraia do sertão" e na toada "Fiz pra você". Fez também acompanhamentos para o Trio de Ébano, Cauby Peixoto; Orlando Dias; Trio Orixá e outros.

    Teve gravados em 1953 o samba-canção "Guarujá", com Juracy Rago, pela cantora Inhana; o baião "Terra de Anchieta", com Ado Benatti pela dupla Cascatinha e Inhana e a toada-baião "Aula de amor", com José Caravaggi por Cauby Peixoto. Em 1954, gravou na Todamérica o choro "Apanhei-te cavaquinho", de Ernesto Nazareth e o baião "Coringa", de sua autoria. No ano seguinte, transferiu-se para a gravadora Columbia e gravou com seu conjunto o fox "Dançando com lágrimas nos olhos", de Burke e Dubin, o bolero "Tarde fria", de sua autoria, o fado-fox "Benfica", parceria com Juvenal Fernandes e o samba "Fel", de Betinho e Heitor Carrilho. Em 1956, fez com Henrique Lobo a música "Tarde fria" gravada por Cauby Peixoto no LP "Canção do rouxinol". Em 1957, gravou com seu conjunto o choro "Velha guarda", de José Ramos, o fox-trot "É ou não romântico", de Hart e Rodgers, o mambo "Fiesta", de Samuels e Whitcup e o beguine "Veneno", de sua autoria. No ano seguinte, gravou com seu conjunto as canções "Moonlight fiesta" e "Moonlight in Rio", de sua autoria. Em 1959, lançou pela Columbia o LP "Penumbra - Poli e Seu Conjunto". Nesse ano, tornou-se o primeiro a introduzir a guitarra na música sertaneja na regravação da "Moda da mula preta" pela dupla Torres e Florêncio, com arranjos seus, que também tocou a guitarra havaiana. Também nesse ano, tocou viola caipira no LP "Exaltação à viola", lançado pelo maestro Elcio Alvarez na Chantecler.

    Em 1960, gravou pela Chantecler o cateretê "Zíngara", de Joubert de Carvalho; a canção "Noite cheia de estrelas" e a valsa "Lágrimas", de Cândido das Neves; a canção "Serenata", de Vicente Celestino e o "Samba caipira", de Palmeira e Piraci. Nesse ano, gravou pelo selo Sertanejo a cana-verde "Vai de roda", de Palmeira e Teddy Vieira; a guarânia "Condenado", de Palmeira e Alberto Calçada; a cação "Lamento de boiadeiro", de Palmeira e Mário Zan e "Folias de Santos Reis", de Teddy Vieira e Palmeira. Nessa época, seu conjunto tinha como integrantes Henrique Simonetti, na celesta, Carlinhos Maffazzoli no acordeom e Luisinho Schiavo no órgão elétrico.

    Em 1961, ainda na Chantecler gravou a valsa "Ave Maria", de Erotides de Campos e o samba "Despedida de Mangueira", de Benedito Lacerda e Aldo Cabral. Nesse ano, gravou no selo Sertanejo a toada "Tristeza do Jeca", de Angelino de Oliveira. Também no mesmo ano, ingressou na Continental e em seu primeiro trabalho na nova gravadora acompanhou com seu conjunto as gravações dos rocks "Rock do saci", de Baby Santiago e Tony Chaves e "Broto legal", dois grandes sucesso do ídolo jovem Demétrius. Acompanhou ainda gravações de Valter Levita, Luiz Roberto e Leila Silva.

    Em 1962, gravou com seu conjunto o samba "Castiguei", de Venâncio e Jorge Costa, o bolero "Fica comigo esta noite", de Adelino Moreira e Nelson Gonçalves, a polca "Festa na roça", de Mário Zan e Palmeira e a "Quadrilha do tamanduá", de sua autoria. No ano seguinte, gravou algumas músicas de filmes e seriados famosos na época como "Sukiyaki", "Bonanza" e "Dominique". Em 1964, voltou a tocar viola caipira no LP "Quermesse junina" da Continental.

    À época, influenciava, como instrumentista e professor de música, entre outros, Sérgio Dias do Grupo "Os Mutantes". Em 1970, gravou o LP "Sertão em festa", com solos de guitarra havaiana nas músicas "Tristeza do Jeca", de Angelino de Oliveira e "Vai chorando, coração", de Amarilda e Brás Baccarin, além de tocar viola caipira em diversas composições. Gravou, no mesmo ano, outro elepê homenageando os grandes instrumentistas de cordas do Brasil, Canhoto, Jacob do Bandolim e outros. Jacob, conhecido por seu senso hyper crítico, fez elogios ao instrumentista na época do lançamento desse disco.

    Discografia

        * Deep in the heart of Texas/Jingle, jangle, jungle (1944) Continental
        * Limehouse blues/Isle of dream (1945) Continental 78
        * Sonho divino/Colibri (1948) Continental 78
        * Begin the beguine/Cavaleiros do céu (1951) Toidamérica 78
        * Meteoro/Saudade (1952) Todamérica 78
        * Turista/Dois de junho (1952) Todamérica 78
        * Jezebel/At sundown (1952) Todamérica 78
        * Anniversary song/Vaidoso (1952) Todamérica 78
        * Nisei/Guarujá (1953) Todamérica 5263
        * Apanhei-te cavaquinho/Coringa (1954) Continental 78
        * Jamie/Stranger in paradise (1955) Todamérica 78
        * Dançando com lágrimas nos olhos/Tarde fria (1955) Columbia 78
        * Benfica/Fel (1955) Columbia 78
        * Velha guarda/É ou não romântico (1957) Columbia 78
        * Fiesta/Veneno (1957) Columbia 78
        * Blue acho/Perambulando (1957) Columbia 78
        * Dark moon/Maracangalha (1957) Columbia 78
        * Moonlight fiesta/Moonlight in Rio (1958) Columbia 78
        * Penumbra-Poli e Seu Conjunto (1959) Columbia LP
        * Zíngara/Noite cheia de estrelas (1960) Chantecler 78
        * Lágrimas/Serenata (1960) Chantecler 78
        * Ouvindo-te/Samba caipira (1960) Chantecler 78
        * Vai na roda/Condenado (1960) Sertanejo 78
        * Lamento de boiadeiro/Folias de Santos Reis (1960) Sertanejo 78
        * Ave Maria/Despedida de Mangueira (1961) Chantecler 78
        * Na fronteira do México/La Paloma (1961) Chantecler 78
        * México/Cavaleiros do céu (1961) Chantecler 78
        * Tristeza do Jeca/Gaúcho eu sou (1961) Sertanejo 78
        * Minha casa/Adeus, Maria (1961) Sertanejo 78
        * Estrela de menino pobre (1962) Chantecler 78
        * Castiguei/Fica comigo esta noite (1962) Continental 78
        * Berlim melody/Norman (1962) Continental 78
        * El suco suco/Siboney (1962) Continental 78
        * Quadrilha do tamanduá/Festa na roça (1962) Continental 78
        * A balada do soldado/Quando setembro chegar (1962) Continental 78
        * Jingle bells/Boas festas (1962) Continental 78
        * Mariquilla/Cláudia (1963) Continental 78
        * Jessica/Benfica (1963) Continental 78
        * Sukiyaki/Bonanza (1963) Continental 78
        * Sertão em festa (1970) LP
        * Dois bicudos não se beijam (1995) Continental CD Póstumo

    (Origem: Wikipédia, a enciclopédia livre)

    sexta-feira, 16 de abril de 2010

    Índios Tabajaras - Vol. 2

    1. Always in My Heart
    2. El Reloj
    3. Moonglow
    4. Pajaro Campana
    5. As Time Goes By
    6. Love Theme from Romeo and Juliet
    7. Begin the Beguine
    8. Stardust
    9. La Novia
    10. Theme from Love Story
    11. Não Tenho Lágrimas
    12. Sentimental Journey
    13. Ternura
    14. Strangers in the Night
    15. Cuando Vuelva A Tu Lado (What A Diff'rence A Day Made)
    16. Over the Rainbow
    17. Lisboa Antiga
    18. Moulin Rouge
    19. Amapola
    20. Unchained Melody
    21. Dança Ritual do Fogo (M. De Falla)
    Índios Tabajaras 2

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