terça-feira, 30 de novembro de 2010

Orquestra Tupy - Maestro Bruno Rodrigues


01. The Licia
02. La Paloma
03. Evie
04. Temas de Filmes: Noviça Rebelde/Around The World In 80 Days
05. Harlem Nocturne
06. Maria Fumaça
07. Mulher
08. El Dia Que Me Quieras
09. In Persian Market
10. Fascinação
11. Energia
12. My Romance
13. Stars War Theme

Maestro Bruno Rodrigues

Big Band Tupy Orquestra e Coral

Criada em 1990 nas famosas "Domingueiras voadoras", série de bailes realizados na casa de shows "Circo Voador", no bairro da Lapa, centro do Rio de Janeiro, surgiu com o propósito de propagar a tradição das grandes orquestras conhecidas como "big bands" e que tiveram seu momento áureo nas décadas de 1940 e 1950. A banda é composta por 23 músicos e cantores com regência do maestro Bruno Rodrigues. Além do maestro, fazem parte da orquestra Antonieta Barreto Rodrigues, Alessandra Barreto Rodrigues, Simone do Nascimento Francisco, Sérgio Henrique Pereira Araújo e Alexandre Hudson da Costa, como vocalistas; Mauricio Borges Lameira, Reinaldo Xavier Seabra da Silva e Samuel Vieira, como trombonistas; Marco da Silva Filho, Alrimar Bento Donato, Alan Maciel Oscar e Ademir Gomes, como saxofonistas; Marivaldo Moraes, Edimar Alves Machado e Elizeu Mendonça como trompetistas; Marco Antonio Vieira, no baixo; Robson da Silva Borralho, como tecladista; André Luis Marins de Mattos como guitarrista; Paulo Rangel e Rogério Queiroz dos Santos como bateristas; e Bibiano de Assis Netto e Alexandre Pires como percussionistas.

Em pouco mais de quinze anos de atividades, ficou conhecida como a "mais premiada orquestra de shows e bailes da América Latina" tendo recebido mais de 140 premiações, além de dois discos de ouro pelos CDs "Orquestra Tupy" e "Ritmos latinos". A orquestra apresenta um repertório eclético com predomínio de músicas produzidas entre as décadas de 1960 e 2000, incluindo ritmos como samba, axé music, salsa, reggae, bolero, pagode, fox, country music, calypso, forró. Em suas apresentações são feitas releituras de clássicos da música popular contando com arranjos de 10 sopros, base completa com teclados, baixo, guitarra, bateria e percussão, além de um coro de cinco vozes. Em 1993, a orquestra lançou seu primeiro disco, o LP "Dança e romance", produzido e dirigido pelo maestro Bruno Rodrigues no qual foram interpretadas, entre outras, as músicas "Em algum lugar do passado", "Emoções", de Roberto e Erasmo Carlos, "Beguin the beguine", "I just called to say I love you", "New York, New York", "Insensatez", de Antônio Carlos Jobim e Nilton Mendonça, e "2001 - Assim falou Zaratrusta". Três anos depois, a orquestra lançou o segundo disco, e primeiro CD, que obteve grande aceitação de público chegando à marca de 102 mil cópias vendidas o que valeu à orquestra o primeiro disco de ouro. Estão presentes nesse disco obras como "La Paloma", "Evie", "El dia que me quieras", e "Fascinação", além de temas de cinema como "Noviça rebelde" e "A volta ao mundo em 80 dias". Em 1995, a orquestra participou juntamente com a Orquestra Filarmônica de Moscou e a Orquestra Sinfônica Brasileira dos festejos dos 90 anos da Avenida Rio Branco, centro do Rio de Janeiro. Em 1997, a orquestra obteve seu segundo disco de ouro pela vendagem do CD "Ritmos latinos", no qual foram interpretados clássicos da música latina como "Moliendo café", "Em algum lugar do passado", "Tequila", "Chuva", "Patricia", "Cachita", "Perfídia", "Guatanamera", "La Bamba", "El Manicero", e "Palo bonito". Em 2000, sairam pela Universal/Indie Records o CD e a fita de vídeo "Dança de salão", no qual a orquestra interpretou, entre outras, as músicas "Coisa de pele", "Canta Brasil", "Tu me acostumbrastes", "Chuvas de verão", "País tropical", "Na Glória", e "Brasileirinho". Em 2001, saiu pela Eldorado/Imagem Musisom o CD "Orquestra e coral Tupy ao vivo", com a interpretação de músicas como "I' ve got you under my skin", "Evidências", "Farol das estrelas", "Gostava tanto de você", "Sai da minha aba", e "Aquarela do Brasil". Dois anos depois, saiu o CD "In concert" reunindo gravações dos discos anteriores da orquestra como "Na Glória", "Chuvas de verão", "Coisa de pele", "Brasileirinho", e "Canta Brasil".

Em 2005, a banda lançou seu sexto CD "Perfil" que reuniu gravações já feitas anteriormente. Nesse ano, a banda destacou-se no carnaval carioca apresentando-se no baile popular da Cinelândia. Ainda no mesmo ano, apresentaram-se em espetáculo na quadra da Escola de samba Estação Primeira de Mangueira durante as comemorações pelos 75 anos de fundação da escola. Na ocasião, acompanharam o cantor Jamelão apresentando clássicos da música popular brasileira, com uma homenagem ao compositor Lupicínio Rodrigues e sambas enredos com os quais a Mangueira foi campeã. Além disso, a orquestra apresentou-se em diferentes cidades do Rio de Janeiro e de São Paulo como Duque de Caxias, Teresópolis, São Paulo capital e Santo André. Em 2006, a orquestra foi vencedora com nota máxima do quadro "Pistolão" do programa "Domingão do Faustão", apresentado por Fausto Silva na TV Globo. Ainda nesse ano, apresentou-se durante os quatro dias de carnaval no baile popular da Cinelândia, centro do Rio de Janeiro, evento do qual passou a fazer a abertura e o fechamento desde 1999.

(Extraído do Dicionario Cravo Albin da Música Popular Brasileira.)

domingo, 28 de novembro de 2010

Claudio Casanova and His Orchestra - Fly Me to the Moon - 16 Great Love Songs

  1. Time in a Bottle
  2. Still Crazy After
  3. Fly Me to the Moon
  4. Love is Stronger Far Than We
  5. Marjorie
  6. Fill Your Heart
  7. My Darling
  8. Once in Love with Amy
  9. Here Lies Love
  10. Dear Heart
  11. A Perfect Love
  12. Waking Up Alone
  13. Love in Ev'ry Room
  14. Young and Warm and Wonderful
  15. An Old-Fashioned Love Song
  16. Sweet Eloise
Fly Me to the Moon

quinta-feira, 25 de novembro de 2010

Yanni - Dare to Dream

  1. Once Upon a Time
  2. A Love for Life
  3. Nice to Meet You
  4. So Long My Friend
  5. You Only Live Once
  6. To the One Who Knows
  7. Face in the Photograph
  8. Felitsa
  9. Desire
  10. Aria
  11. A Night to Remember
  12. In the Mirror
Dare to Dream

Yanni, (nascido Yiannis Chrysomallis, Kalamata, Grécia, 14 de novembro de 1954) é um músico, tecladista e compositor.

Os pais de Yanni Chrysomallis eram artistas e fãs de música clássica. Filho de uma cantora e de um violonista, Yanni cresceu ouvindo Beethoven, Mozart, Chopin, Stravinsky e outros grandes nomes eruditos. Estas acabaram se tornando as maiores influências de sua carreira como tecladista e compositor de um estilo que ele prefere chamar de instrumental contemporânea.

Apesar de sempre ter sido um amante de música, Yanni passou a infância e adolescência dedicando-se à natação, e aos 14 anos já havia batido recordes na Grécia como nadador.

Aos 18 anos, mudou-se para os Estados Unidos, onde cursou psicologia na Universidade de Minnesota por três anos e meio. No entanto, ao terminar a faculdade, decidiu abandonar a carreira de psicólogo antes mesmo de iniciá-la, resolvendo dedicar-se apenas à música. Aos 21 anos, Yanni aprendeu a tocar teclado sozinho e passou a fazer parte de uma banda de rock local intitulada Chameleon.

Alguns anos depois, decidiu mudar-se para Los Angeles com o baterista Charlie Adams, que conhecera na época do Chameleon, e começou a gravar suas próprias composições pelo selo Private Music. Em 1986 lançou seu primeiro álbum, Keys To Imagination. O álbum trouxe a Yanni um impressionante séquito de fãs.

A partir daí, não demorou muito para o tecladista estabelecer-se como um conceituado músico de estúdio, compositor de jingles e produtor. Pouco tempo depois, Yanni tornou-se um dos artistas mais vendidos do selo Private Music.

Considerado um dos nomes de maior destaque no segmento instrumental, a fama de Yanni aumentou a partir de seu relacionamento com a atriz americana Linda Evans, no início da década de 1990. Por ser muito popular nos Estados Unidos na época, Evans foi a maior responsável pelo grande interesse da mídia pelo tecladista. Eles tiveram um relacionamento de amor que durou nove anos.

Por ser autodidata, Yanni não sabe ler ou escrever músicas do modo tradicional. Ao invés disso, inventou uma maneira própria de compor ainda na infância e continua criando suas músicas usando a mesma técnica até hoje, depois de quase vinte anos de carreira e mais de vinte e dois discos. Sua sonoridade é ao mesmo tempo acessível e elaborada, sempre unindo o pop e a música clássica. As composições de Yanni também ficaram famosas nos Estados Unidos após terem sido usadas em programas de televisão e na abertura dos Jogos Olímpicos. Yanni é adepto da Nova Era, ele e sua ex-esposa Linda Evans estavam envolvidos na meditação oriental.

Em 2003, Yanni lançou sua autobiografia com a co-autoria de David Resin. No livro o músico relata suas memórias, partindo da primeira infância na Grécia, o início do aprendizado de piano, o amor de seu pai, considerado por ele uma lição para toda vida. Avança para sua mudança para os Estados Unidos, seus estudos em Minnesota e seu relacionamento de anos com a atriz Linda Evans. Ao tratar do sucesso que sua música alcançou em todo o mundo, fala sobre os percalços que enfrentou, a depressão que ameçou-o por algumas vezes e de seu empenho para não rotular de new age a música que produz. O lançamento do livro coincidiu com o lançamento do seu 13o. álbum, o Ethnicity, e foi considerado um best seller pelo New York Times.

(Origem: Wikipedia, a enciclopédia livre.)

segunda-feira, 22 de novembro de 2010

Ray Conniff His Orchestra and Chorus - Say It with Music (A Touch of Latin)

  1. Besame Mucho
  2. Stranger In Paradise
  3. Summertime
  4. I've Got You Under My Skin
  5. Too Young
  6. Softly, As In A Morning Sunrise
  7. Just One Of Those Things
  8. Deep Purple
  9. Brazil
  10. Night And Day
  11. Temptation
  12. Say It With Music
"Say it with a beautiful song", sing Irving Berlin's charming lyrics for the title tune of Ray conniff's latest, and that is precisely what America's Number One dance arranger does. Moreover, he does it with a Latin beat, just a hint of the intriguing rhythms from the tropics. The brilliant Conniff way with a tune is too famous to need further mention, but the saucy extras he has added to this new program add up to entertainment that is brighter than ever.

Ray Conniff's novel methods of blending voices and orchestra have brought dancers hurrying back to the floor and caused even casual listeners to sit up and take notice. Female voices are doubled with trumpets, high saxophones or clarinets, while the male voices are paired with trombones, trumpets or saxes in the lower registers. This subtle coloring intensifies the soft tones and at the same time mellows the harsher ones. And it produces the glossiest dance music anyone could desire.

Ray began his recording career as an arranger (for Johnny Mathis, "It's Not For Me To Say"; for Guy Mitchell, "Singing The Blues"; for Johnnie Ray, "Walkin' My Baby Back Home", among others) but so vivid were his talents that he was soon signed as an artist himself. During the brief period that Ray has been arranging and conducting his dance albums, more than a million Conniff records have been sold, with demand growing every day.

In this collection, Ray plays a dozen favorite songs, touching them lightly with a Latin inflection. Four are by cole Porter, others by George Gershwin, Sigmund Romberg, Peter de Rose and, of course, the Irving Berlin title tune. Each of them is, to quote Mr. Berlin again, "a melody mellow", and each of them is another Conniff delight.

(From the original liner notes)

sexta-feira, 19 de novembro de 2010

Bobby Crush - Plays Melodies from the Movies

  1. Theme from "Schindler's List"
  2. A Whole New World (From "Aladdin")
  3. I Only Have Eyes for You (From "Miami Rhapsody")
  4. I've Never Been to Me (From "The Adventures of Priscilla, Queen of the Desert")
  5. Can You Feel the Love Tonight? (From "The Lion King")
  6. Shakin' the Blues Away (From "That's Entertainment III")
  7. Can You Read My Mind? (Love Theme from "Superman")
  8. Main Theme from "Forest Gump" (Feather Theme)
  9. Love Is All Around (From "Four Weddings and A Funeral")
  10. Two For the Road (From "Two For the Road")
  11. Let Me Be Your Wings (From "Thumbelina")
  12. Endless Love (From "Endless Love")
  13. When I Fall in Love (From "Sleepless in Seattle")
  14. As Time Goes By (From "Casablanca")
Melodies from the Movies

A musical tribute to the movies featuring Bobby Crush's scintillating keyboard work together with Gordon Lorenz's immaculate production.

Here's themes from movies such as "Forrest Gump", "The Lion King", "Superman" and "Four Weddings and A Funeral", plus oldies from "Casablanca" and "Sleepless in Seattle".

Bobby's terrific piano artistry makes this a highly-listenable and evocative album, breathing fresh life into a bunch of much-loved tunes.

(From the original liner notes)

terça-feira, 16 de novembro de 2010

Dario Lopes - Grandes Compositores - A música de Noel Rosa

  1. Com que Roupa
  2. Último Desejo
  3. Palpite Infeliz
  4. Feitiço da Vila
  5. Fita Amarela
  6. Feitio de Oração
  7. As Pastorinhas
  8. Conversa de Botequim
  9. Pierrot Apaixonado
  10. O Orvalho vem Caindo
  11. Não tem Tradução
  12. Quando o Samba Acabou
Noel Rosa

Noel Rosa was a well-known and celebrated composer while alive, but is more and more popular as time passes. When active, popular music in Brazil was mainly "country" music, sertaneja music. But he felt free to offer his true-spirited samba in a new way, his way: sophisticated melodies conjugated with unusual lyrics, ranging from amorous metaphysics through a vivid picture of social life and relations in a poetic Rio of the '30s.

Although his carnival marches knew instant national-wide success year by year, his elaborate songs only began to receive popular acclamation within ten years after his death. Maybe this gradual conquer over accepted standards can explain why he is so present these days.

His birth from a difficult delivery marked his whole life: as mother and child were endangered, the obstetrician decided to use the forceps. It caused a fracture and deepening of his jawbone. Through all his adolescence it would make him marked by cruel nickname "Queixinho" (Little Chin), and the difficulty eating would make him prefer soft foods such as soups and eggs, consumed out of sight of strangers. Eating less than his needs, together with his bohemian habits, may have had a decisive impact on contracting tuberculosis, which ended up killing him at the young age of 26 years. But his problems were always balanced with a feeling of self-humor, as attested by the several charges he made to himself, portraying sardonically his uncomfortable looks.

At 13, he started to play mandolin by ear. Listening to his father and friends playing the acoustic guitar (violão), he soon mastered this instrument enough to go through highly appreciated serenades.

Being native of the carioca neighborhood Vila Isabel, his childhood and adolescence were somewhat protected, although not rich. Contact with the malandros and sambistas of the hills only took place at the end of the '20s. Then he knew, among others, Canuto, who would be his partner in some compositions, interpreter in others; and Antenor Gargalhada, president of the Escola de Samba Azul e Branco, from the Salgueiro hill.

Finishing his high-school studies, the year of 1929 marked his preparations for medical school, an old dream of his mother's. At the same time, he was absorbed into an existing amateur musical group, the Bando de Tangarás, which also included João de Barro, Almirante, Alvinho, and Henrique Brito. They recorded in May of that same year the samba "Mulher Exigente," the embolada "Galo Garnizé," and the cateretê "Anedotas," all by Almirante. A few months later, on July 27, he presented his first composition, the embolada "Minha Viola," at the Tijuca Tenis Clube.

Being a group composed by middle-class amateur musicians, in a time when music was heavily connoted with marginality, the Bando dos Tangarás always insisted on not receiving any money for their performances, not even for expenses such as transportation. As they enjoyed increasing success, playing in cinemas, radios, and theaters, important artists joined the group, such as Luperce Miranda. Noel Rosa only became a professional the next year, with "Com que Roupa?"

In 1930, he recorded his second composition, the toada "Festa No Céu?" on the two sides of a Parlophone record. It has to be noted that he was still heavily influenced by these "country" styles, mainly northeastern Brazilian. Until 1931, he would compose two other sertaneja songs, "Mardade de Cabocla" and "Sinhá Ritinha" (written with Moacir Ferreira). From then on, he would stick to samba. In the year of 1931, he finally entered medical school (after a failed attempt the year before) and began to make success in music. It was not difficult to foresee which one of the two would soon be dumped, in 1932. Of his mediocre medical studies, one song was left, an anatomical samba named "Coração" ("Heart"). Although displaying singular ignorance of physiology for a med student (or a refined sense of auto-irony), "Coração" inaugurates his humorous style and a rare gift for avoiding corny lyrics while writing sensitive poetry: "Heart, big propulsive organ, transformer of venous blood into arterial/passion produces pain in the cranium but doesn't attack the heart."

In this same year, he recorded more than 20 songs, all of them carrying the mark of his genius. His unusual approach always produced fresh, surprising lyrics: "Cordiais Saudações" brings all the lyrics built in the form of a letter; "Mulata Fuzarqueira" has a meta-linguistic quality, making fun of the written word in uneducated form while affirming the sincerity behind it; "Que Horas São?" is solely about highly elaborated puns, one of his trademarks; "Gago Apaixonado" ("Stuttering Lover") simulates a passionate declaration of a stuttering lover, and was presented at the Grêmio Esportivo on June 11. This was after a "secret" introduction to the audience by the famous composer Lamartine Babo, of a "stammering guy who is a good composer," asking the audience to have pity and not to laugh at the poor boy; with their compassionate compliance being a hard trial, as everybody wanted to burst into laughing all the time while Rosa was singing.

Already worried by his frequent nocturnal escapades that only ended in bright daylight, his losing weight, his heavy drinking, and smoking habits, his mother decided to exert stricter vigilance upon him, and began to hide his clothes to impede him from going out. In one of these occasions, a bunch of friends came to pick him up to a samba gathering, but he couldn't join the party without clothes. That was the pretext of a new jewel: "Com que Roupa?" ("With What Clothes?"). That was the way Rosa composed, speaking of his own life and experiences.

With the advent of the radio in Brazil, in September 1923, the new medium galvanized the attention of the masses and captured the interest of the artists. Rosa was no exception, and soon in 1932 he was hired by Ademar Casé's show as assistant. Crowded in a small room, four or five musicians, a piano, the speaker, the director, the sound engineer, and Noel Rosa endured broadcasting from 11 a.m. to 12 p.m. every Tuesday, Thursday, and Sunday. Rosa was very popular, inventing improvised verses to his songs and to sponsors' jingles in the middle of improvised musical challenges directed to Almirante, Patrício Teixeira, Marília Batista, and João de Barro.

With Lamartine Babo and Mário Reis, Rosa formed the group Ases do Samba, which enjoyed a huge success in São Paulo, SP, impelling them to a season in the South, once more heavily successful.

Returning back to Rio, Rosa was invited by Francisco Alves, the most popular singer at the time, to begin a new trio with Ismael Silva. "Para Me Livrar Do Mal," "Adeus," "Assim, Sim," and "Gosto Mas...Não Muito" were the first compositions of the new association.

In March 1934, Rosa joined the group Gente do Morro, in which were Benedito Lacerda, Russo do Pandeiro, Canhoto, and other famous and talented instrumentalists. The tour to upstate Rio and Espírito Santo turned into a failure, though.

His partnerships, following the trajectory of his amiable, warm character, were varied and numerous. Some of his partners had only one opportunity to have an association with him, but these turned into masterpieces: Heitor dos Prazeres ("Pierrô Apaixonado"), Orestes Barbosa ("Positivismo"), and André Filho ("Filosofia").

Frequent partners were Hervê Cordovil, Lamartine Babo, and João de Barro ("Pastorinhas"). With these, Rosa wrote mostly Carnival marchinhas which were invariably great hits, year after year. But the most important partner of Rosa's was Vadico (Osvaldo Gogliano), since they met in 1932 at Odeon's Studio. In their first encounter, they created the immortal "Feitio de Oração." Their second song was another pearl, "Feitiço da Vila." They composed another eight of the best sambas of Rosa's career: "Mais um Samba Popular," "Pra que Mentir," "Conversa de Botequim," "Só Pode Ser Você," "Tarzan, o Filho do Alfaiate," "Cem Mil Réis," "Provei," and "Quantos Beijos."

Rosa had many lovers but was married only once, on December 1, 1934, to Lindaura Pereira da Mota. A docile, peaceful girl, Lindaura endured the hardships of a marriage to a husband who never had any idea of what is a marriage. The only change in Rosa's life after the union was a double bed which his mother brought to his room where he lived at her house, as he never remembered to take any measures regarding his alteration of status. In 1934, his health deteriorated to the extent he was obliged to leave Rio toward Minas Gerais, a place with a strong rural tradition and plenty of healthy food, milk, cheeses, and wonderful sweets. But, unfortunately for him, Minas also had radio stations, bars, beautiful girls, and fans who wanted to listen to him. Even then, he was able to improve his health a little: he left Rio in the beginning of 1935 weighing 99 pounds, returned in September at 125. The American producer W. Downey made two Brazilian musical movies in the year of 1936: Alô, Alô Brasil and Alô, Alô, Carnaval. There were two of Rosa's songs in the latter: "Não Resta a Menor Dúvida" (with Hervê Cordovil) and "Pierrô Apaixonado" (with Heitor dos Prazeres). "Palpite Infeliz" was originally included, but an unusual exigency by Rosa prevented it from appearing: while the tropical style with plenty of pineapples, bananas, and palm trees were at full steam as a fake representation of Brazil, Rosa insisted that singer Aracy de Almeida acted as a washerwoman. Aracy, even being a close friend, declined the opportunity. Rosa still wrote six songs for the movie Cidade Mulher, by Humberto Mauro. His health was in rapid decline, though. In January 1937, had to again leave Rio to rest. On May 1st, he felt terrible cold shivers and had to go back to Rio. On May 4th, surrounded by his wife, his mother, and his brother, the guitar player and doctor Hélio Rosa, Noel Rosa died, one of the true giants of the Brazilian popular music. His talent for creating unusual melodies was only matched by his acute lyricism, always showing through his original and humorous way of seeing life, as displayed in the several declarations or interviews such as this one for the O Cruzeiro magazine, in 1932: "What relation do you think exists between love and music?" "Romeo and Juliet died ignoring it. I think, tough, that the relation is the same that exists between the banana skin and the slipping." ~ Alvaro Neder, Rovi

quarta-feira, 10 de novembro de 2010

Mantovani - Today

  1. Midnight Cowboy
  2. Up, Up, And Away
  3. I'll Never Fall In Love Again
  4. Blowin' In The Wind
  5. Deserted Shore
  6. Without Love (There Is Nothing)
  7. Everybody's Talkin'
  8. Lemon Tree
  9. Good Morning Starshine
  10. Leaving On A Jet Plane
  11. Wand'ring Star
  12. Love Is All
Today

quinta-feira, 4 de novembro de 2010

The Strings of Paris - Romantic Sax Melodies - Conducted by Jean Paul de La Tour

 
  1. Polka Dots And Moonbeams
  2. Tea For Two
  3. A Fine Romance
  4. I Can't Believe That I'm In Love With You
  5. Don't Blame Me
  6. September In The Rain
  7. All The Way
  8. Call Me Irresponsible
  9. Darn That Dream
  10. Skylark
  11. Exactly Like You
  12. How Deep Is The Ocean
  13. The Nearness Of You
  14. Imagination
  15. The Continental
  16. Girl From Ipanema
Romantic Sax Melodies

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