terça-feira, 27 de setembro de 2011

Earl "Fatha" Hines - The Jazz Masters - 100 anos de Swing

  1. Earl's Pearl
  2. If It's True
  3. Rosetta
  4. One Night In Trinidad
  5. I Know That You Know
  6. If I Had You
  7. St. Louis Blues
  8. Chicago
Earl "Fatha" Hines, piano
Milt Hinton, bass
Gradley Tate, drums
Sam Turner, conga toms
Lionel Hampton, vibes

Folio EF 20036

Once called "the first modern jazz pianist," Earl Hines differed from the stride pianists of the 1920s by breaking up the stride rhythms with unusual accents from his left hand. While his right hand often played octaves so as to ring clearly over ensembles, Hines had the trickiest left hand in the business, often suspending time recklessly but without ever losing the beat. One of the all-time great pianists, Hines was a major influence on Teddy Wilson, Jess Stacy, Joe Sullivan, Nat King Cole, and even to an extent on Art Tatum. He was also an underrated composer responsible for "Rosetta," "My Monday Date," and "You Can Depend on Me," among others.

Earl Hines played trumpet briefly as a youth before switching to piano. His first major job was accompanying vocalist Lois Deppe, and he made his first recordings with Deppe and his orchestra in 1922. The following year, Hines moved to Chicago where he worked with Sammy Stewart and Erskine Tate's Vendome Theatre Orchestra. He started teaming up with Louis Armstrong in 1926, and the two masterful musicians consistently inspired each other. Hines worked briefly in Armstrong's big band (formerly headed by Carroll Dickerson), and they unsuccessfully tried to manage their own club. 1928 was one of Hines' most significant years. He recorded his first ten piano solos, including versions of "A Monday Date," "Blues in Thirds," and "57 Varieties." Hines worked much of the year with Jimmy Noone's Apex Club Orchestra, and their recordings are also considered classic. Hines cut brilliant (and futuristic) sides with Louis Armstrong's Hot Five, resulting in such timeless gems as "West End Blues," "Fireworks," "Basin Street Blues," and their remarkable trumpet-piano duet "Weather Bird." And on his birthday on December 28, Hines debuted with his big band at Chicago's Grand Terrace.

A brilliant ensemble player as well as soloist, Earl Hines would lead big bands for the next 20 years. Among the key players in his band through the 1930s would be trumpeter/vocalist Walter Fuller, Ray Nance on trumpet and violin (prior to joining Duke Ellington), trombonist Trummy Young, tenor saxophonist Budd Johnson, Omer Simeon and Darnell Howard on reeds, and arranger Jimmy Mundy. In 1940, Billy Eckstine became the band's popular singer, and in 1943 (unfortunately during the musicians' recording strike), Hines welcomed such modernists as Charlie Parker (on tenor), trumpeter Dizzy Gillespie, and singer Sarah Vaughan in what was the first bebop orchestra. By the time the strike ended, Eckstine, Parker, Gillespie, and Vaughan were gone, but tenor Wardell Gray was still around to star with the group during 1945-1946.

In 1948, the economic situation forced Hines to break up his orchestra. He joined the Louis Armstrong All-Stars, but three years of playing second fiddle to his old friend were difficult to take. After leaving Armstrong in 1951, Hines moved to Los Angeles and later San Francisco, heading a Dixieland band. Although his style was much more modern, Hines kept the group working throughout the 1950s, at times featuring Muggsy Spanier, Jimmy Archey, and Darnell Howard. Hines did record on a few occasions, but was largely forgotten in the jazz world by the early '60s. Then, in 1964, jazz writer Stanley Dance arranged for him to play three concerts at New York's Little Theater, both solo and in a quartet with Budd Johnson. The New York critics were amazed by Hines' continuing creativity and vitality, and he had a major comeback that lasted through the rest of his career. Hines traveled the world with his quartet, recorded dozens of albums, and remained famous and renowned up until his death at the age of 79. Most of the many recordings from his career are currently available on CD. 

(by Scott Yanow from allmusic.com)

domingo, 25 de setembro de 2011

Werner Muller and His Orchestra - Cascading Strings

  1. Tango In The Rain
  2. Lisboa Antigua
  3. Bistro
  4. La Cumparsita
  5. Simonetta
  6. Monte Carlo Melodie
  7. Arpanetta
  8. Song Of The Pearlfisher
  9. Guitar Mambo
  10. Valse Baccara
  11. Bolero Bleu
  12. Tango Of The Drums
Cascading Strings

sábado, 24 de setembro de 2011

Warren Covington and The Tommy Dorsey Orchestra - Tea For Two Cha Chas

  1. Tea For Two Cha Cha
  2. Por Favor (Please)
  3. Patricia
  4. I Still Get Jealous - Cha Cha
  5. Corazon De Melon
  6. Dardanella Cha Cha
  7. Rico Vacilon
  8. I Want To Be Happy Cha Cha
  9. Together 1-2-3
  10. Trumpet Cha Cha Cha
  11. Dinah Cha Cha
  12. Cha Cha For Gia
Tea For Two Cha Chas

Every once in a while, a recording really "takes off", and skyrockets far beyond the most optimistic speculations. One of the most recent of these "musical missiles" is Warren Covington's captivating new cha cha arrangement of the popular old favorite, Tea for Two. Behind its spectacular success is a fresh new sound...a unique style that has taken the country by storm.

In this album you will hear the famous Tommy dorsey Orchestra, starring warren Covington, with a collection of sparkling arrangements played along the lines of the Tea For Two Cha Cha and the I Want To Be Happy Cha Cha - the latter showing every promise of equaling or possibly surpassing the former in popularity.

Cha Cha music has long been almost exclusively in the realm of the "too-old-to-rock-and-roll" set. That is, until Warren Covington introduced his exciting new treatment, and caught the imagination of the teen-agers as well as the steadfast cha cha aficionados. He has created a new, wider audience for cha cha music...an audience that includes practically everyone.

Warren Covington, who has idolized Tommy Dorsey as long as he can remember, was chosen to front the famous "Tee Dee" orchestra a short time after his hero's untimely death and the consequent disbandment of the orchestra. To Covington, a popular young conductor, arranger, musician and singer, his coveted place on the bandstand with the fabulous Dorsey's orchestra, "is like a dream". To his vast audience...it is quite real, indeed!

(from the original liner notes)

Count Basie - Gigantes do Jazz (1980)

  1. Oh Lady Be Good (1936)
  2. Miss Thing (1939)
  3. I Left My Baby (with Jimmy Rushing) (1957)
  4. Louisiana (1940)
  5. Tickle Toe (with Lester Young) (1940)
  6. Love Jumped Out (1940)
  7. Midnite Blue (1957)
  8. Li'l Darlin' (1957)
  9. Baby Won't You Please Come Home (with Joe Williams) (1958)
  10. Moten Swing (1959)
  11. April In Paris (1962)
Um Nobre Band-Leader

Count Basie was among the most important bandleaders of the swing era. With the exception of a brief period in the early '50s, he led a big band from 1935 until his death almost 50 years later, and the band continued to perform after he died. Basie's orchestra was characterized by a light, swinging rhythm section that he led from the piano, lively ensemble work, and generous soloing. Basie was not a composer like Duke Ellington or an important soloist like Benny Goodman. His instrument was his band, which was considered the epitome of swing and became broadly influential on jazz.

Both of Basie's parents were musicians; his father, Harvie Basie, played the mellophone, and his mother, Lillian (Childs) Basie, was a pianist who gave her son his earliest lessons. Basie also learned from Harlem stride pianists, particularly Fats Waller. His first professional work came accompanying vaudeville performers, and he was part of a troupe that broke up in Kansas City in 1927, leaving him stranded there. He stayed in the Midwestern city, at first working in a silent movie house and then joining Walter Page's Blue Devils in July 1928. The band's vocalist was Jimmy Rushing. Basie left in early 1929 to play with other bands, eventually settling into one led by Bennie Moten. Upon Moten's untimely death on April 2, 1935, Basie worked as a soloist before leading a band initially called the Barons of Rhythm. Many former members of the Moten band joined this nine-piece outfit, among them Walter Page (bass), Freddie Green (guitar), Jo Jones (drums), and Lester Young (tenor saxophone). Jimmy Rushing became the singer. The band gained a residency at the Reno Club in Kansas City and began broadcasting on the radio, an announcer dubbing the pianist "Count" Basie.

Basie got his big break when one of his broadcasts was heard by journalist and record producer John Hammond, who touted him to agents and record companies. As a result, the band was able to leave Kansas City in the fall of 1936 and take up an engagement at the Grand Terrace in Chicago, followed by a date in Buffalo, NY, before coming into Roseland in New York City in December. It made its recording debut on Decca Records in January 1937. Undergoing expansion and personnel changes, it returned to Chicago, then to the Ritz Carlton Hotel in Boston. Meanwhile, its recording of "One O'Clock Jump" became its first chart entry in September 1937. The tune became the band's theme song and it was later inducted into the Grammy Hall of Fame.

Basie returned to New York for an extended engagement at the small club the Famous Door in 1938 that really established the band as a success. "Stop Beatin' Round the Mulberry Bush," with Rushing on vocals, became a Top Ten hit in the fall of 1938. Basie spent the first half of 1939 in Chicago, meanwhile switching from Decca to Columbia Records, then went to the West Coast in the fall. He spent the early '40s touring extensively, but after the U.S. entry into World War II in December 1941 and the onset of the recording ban in August 1942, his travel was restricted. While on the West Coast, he and the band appeared in five films, all released within a matter of months in 1943: Hit Parade of 1943, Reveille with Beverly, Stage Door Canteen, Top Man, and Crazy House. He also scored a series of Top Ten hits on the pop and R&B charts, including "I Didn't Know About You" (pop, winter 1945); "Red Bank Blues" (R&B, winter 1945); "Rusty Dusty Blues" (R&B, spring 1945); "Jimmy's Blues" (pop and R&B, summer/fall 1945); and "Blue Skies" (pop, summer 1946). Switching to RCA Victor Records, he topped the charts in February 1947 with "Open the Door, Richard!," followed by three more Top Ten pop hits in 1947: "Free Eats," "One O'Clock Boogie," and "I Ain't Mad at You (You Ain't Mad at Me)."

The big bands' decline in popularity in the late '40s hit Basie as it did his peers, and he broke up his orchestra at the end of the decade, opting to lead smaller units for the next couple of years. But he was able to reform the big band in 1952, responding to increased opportunities for touring. For example, he went overseas for the first time to play in Scandinavia in 1954, and thereafter international touring played a large part in his schedule. An important addition to the band in late 1954 was vocalist Joe Williams. The orchestra was re-established commercially by the 1955 album Count Basie Swings - Joe Williams Sings (released on Clef Records), particularly by the single "Every Day (I Have the Blues)," which reached the Top Five of the R&B charts and was later inducted into the Grammy Hall of Fame. Another key recording of this period was an instrumental reading of "April in Paris" that made the pop Top 40 and the R&B Top Ten in early 1956; it also was enshrined in the Grammy Hall of Fame. These hits made what Albert Murray (co-author of Basie's autobiography, Good Morning Blues) called the "new testament" edition of the Basie band a major success. Williams remained with Basie until 1960, and even after his departure, the band continued to prosper.

At the first Grammy Awards ceremony, Basie won the 1958 awards for Best Performance by a Dance Band and Best Jazz Performance, Group, for his Roulette Records LP Basie. Breakfast Dance and Barbecue was nominated in the dance band category for 1959, and Basie won in the category in 1960 for Dance with Basie, earning nominations the same year for Best Performance by an Orchestra and Best Jazz Performance, Large Group, for The Count Basie Story. There were further nominations for best jazz performance for Basie at Birdland in 1961 and The Legend in 1962. None of these albums attracted much commercial attention, however, and in 1962, Basie switched to Frank Sinatra's Reprise Records in a bid to sell more records. Sinatra-Basie satisfied that desire, reaching the Top Five in early 1963. It was followed by This Time by Basie! Hits of the 50's and 60's, which reached the Top 20 and won the 1963 Grammy Award for Best Performance by an Orchestra for Dancing.

This initiated a period largely deplored by jazz fans that ran through the rest of the 1960s, when Basie teamed with various vocalists for a series of chart albums including Ella Fitzgerald (Ella and Basie!, 1963); Sinatra again (the Top 20 album It Might as Well Be Swing, 1964); Sammy Davis, Jr. (Our Shining Hour, 1965); the Mills Brothers (The Board of Directors, 1968); and Jackie Wilson (Manufacturers of Soul, 1968). He also reached the charts with an album of show tunes, Broadway Basie's ... Way (1966).

By the end of the 1960s, Basie had returned to more of a jazz format. His album Standing Ovation earned a 1969 Grammy nomination for Best Instrumental Jazz Performance by a Large Group or Soloist with Large Group (Eight or More), and in 1970, with Oliver Nelson as arranger/conductor, he recorded Afrique, an experimental, avant-garde album that earned a 1971 Grammy nomination for Best Jazz Performance by a Big Band. By this time, the band performed largely on the jazz festival circuit and on cruise ships. In the early 1970s, after a series of short-term affiliations, Basie signed to Pablo Records, with which he recorded for the rest of his life. Pablo recorded Basie prolifically in a variety of settings, resulting in a series of well-received albums: Basie Jam earned a 1975 Grammy nomination for Best Jazz Performance by a Group; Basie and Zoot was nominated in the same category in 1976 and won the Grammy for Best Jazz Performance by a Soloist; Prime Time won the 1977 Grammy for Best Jazz Performance by a Big Band; and The Gifted Ones by Basie and Dizzy Gillespie was nominated for a 1979 Grammy for Best Jazz Instrumental Performance by a Group. Thereafter, Basie competed in the category of Best Jazz Instrumental Performance by a Big Band, winning the Grammy in 1980 for On the Road and in 1982 for Warm Breeze, earning a nomination for Farmer's Market Barbecue in 1983, and winning a final time, for his ninth career Grammy, in 1984 for 88 Basie Street.

Basie's health gradually deteriorated during the last eight years of his life. He suffered a heart attack in 1976 that put him out of commission for several months. He was back in the hospital in 1981, and when he returned to action, he was driving an electric wheel chair onto the stage. He died of cancer at 79.

Count Basie was admired as much by musicians as by listeners, and he displayed a remarkable consistency in a bandleading career that lasted long after swing became an archival style of music. After his death, his was one of the livelier ghost bands, led in turn by Thad Jones, Frank Foster, and Grover Mitchell. His lengthy career resulted in a large discography spread across all of the major labels and quite a few minor ones as well. 

(by William Ruhlmann from allmusic.com)

Miles Davis - Gigantes do Jazz (1980)

  1. 'Round Midnight (1956)
  2. Stella By Starlight (1958)
  3. Autumn Leaves (1963)
  4. Pinocchio (1967)
  5. Miles Runs The Woodoo Down (1969)
Um Enigma da Música Negro-Americana

Throughout a professional career lasting 50 years, Miles Davis played the trumpet in a lyrical, introspective, and melodic style, often employing a stemless Harmon mute to make his sound more personal and intimate. But if his approach to his instrument was constant, his approach to jazz was dazzlingly protean. To examine his career is to examine the history of jazz from the mid-'40s to the early '90s, since he was in the thick of almost every important innovation and stylistic development in the music during that period, and he often led the way in those changes, both with his own performances and recordings and by choosing sidemen and collaborators who forged new directions. It can even be argued that jazz stopped evolving when Davis wasn't there to push it forward.

Davis was the son of a dental surgeon, Dr. Miles Dewey Davis, Jr., and a music teacher, Cleota Mae (Henry) Davis, and thus grew up in the black middle class of east St. Louis after the family moved there shortly after his birth. He became interested in music during his childhood and by the age of 12 began taking trumpet lessons. While still in high school, he started to get jobs playing in local bars and at 16 was playing gigs out of town on weekends. At 17, he joined Eddie Randle's Blue Devils, a territory band based in St. Louis. He enjoyed a personal apotheosis in 1944, just after graduating from high school, when he saw and was allowed to sit in with Billy Eckstine's big band, who was playing in St. Louis. The band featured trumpeter Dizzy Gillespie and saxophonist Charlie Parker, the architects of the emerging bebop style of jazz, which was characterized by fast, inventive soloing and dynamic rhythm variations. It is striking that Davis fell so completely under Gillespie and Parker's spell, since his own slower and less flashy style never really compared to theirs. But bebop was the new sound of the day, and the young trumpeter was bound to follow it. He did so by leaving the Midwest to attend the Institute of Musical Art in New York City (renamed Juilliard) in September 1944. Shortly after his arrival in Manhattan, he was playing in clubs with Parker, and by 1945 he had abandoned his academic studies for a full-time career as a jazz musician, initially joining Benny Carter's band and making his first recordings as a sideman. He played with Eckstine in 1946-1947 and was a member of Parker's group in 1947-1948, making his recording debut as a leader on a 1947 session that featured Parker, pianist John Lewis, bassist Nelson Boyd, and drummer Max Roach. This was an isolated date, however, and Davis spent most of his time playing and recording behind Parker. But in the summer of 1948, he organized a nine-piece band with an unusual horn section. In addition to himself, it featured an alto saxophone, a baritone saxophone, a trombone, a French horn, and a tuba. This nonet, employing arrangements by Gil Evans and others, played for two weeks at the Royal Roost in New York in September. Earning a contract with Capitol Records, the band went into the studio in January 1949 for the first of three sessions which produced 12 tracks that attracted little attention at first. The band's relaxed sound, however, affected the musicians who played it, among them Kai Winding, Lee Konitz, Gerry Mulligan, John Lewis, J.J. Johnson, and Kenny Clarke, and it had a profound influence on the development of the cool jazz style on the West Coast. In February 1957, Capitol finally issued the tracks together on an LP called Birth of the Cool. Davis, meanwhile, had moved on to co-leading a band with pianist Tadd Dameron in 1949, and the group took him out of the country for an appearance at the Paris Jazz Festival in May. But the trumpeter's progress was impeded by an addiction to heroin that plagued him in the early '50s. His performances and recordings became more haphazard, but in January 1951 he began a long series of recordings for the Prestige label that became his main recording outlet for the next several years. He managed to kick his habit by the middle of the decade, and he made a strong impression playing "'Round Midnight" at the Newport Jazz Festival in July 1955, a performance that led the major label Columbia Records to sign him. The prestigious contract allowed him to put together a permanent band, and he organized a quintet featuring saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones who began recording his Columbia debut, 'Round About Midnight, in October. As it happened, however, he had a remaining five albums on his Prestige contract, and over the next year he was forced to alternate his Columbia sessions with sessions for Prestige to fulfill this previous commitment. The latter resulted in the Prestige albums The New Miles Davis Quintet, Cookin', Workin', Relaxin', and Steamin', making Davis' first quintet one of his better-documented outfits. In May 1957, just three months after Capitol released the Birth of the Cool LP, Davis again teamed with arranger Gil Evans for his second Columbia LP, Miles Ahead. Playing flügelhorn, Davis fronted a big band on music that extended the Birth of the Cool concept and even had classical overtones. Released in 1958, the album was later inducted into the Grammy Hall of Fame, intended to honor recordings made before the Grammy Awards were instituted in 1959. In December 1957, Davis returned to Paris, where he improvised the background music for the film L'Ascenseur pour l'Echafaud (Escalator to the Gallows). Jazz Track, an album containing this music, earned him a 1960 Grammy nomination for Best Jazz Performance, Solo, or Small Group. He added saxophonist Cannonball Adderley to his group, creating the Miles Davis Sextet, who recorded the album Milestones in April 1958. Shortly after this recording, Red Garland was replaced on piano by Bill Evans and Jimmy Cobb took over for Philly Joe Jones on drums. In July, Davis again collaborated with Gil Evans and an orchestra on an album of music from Porgy and Bess. Back in the sextet, Davis began to experiment with modal playing, basing his improvisations on scales rather than chord changes. This led to his next band recording, Kind of Blue, in March and April 1959, an album that became a landmark in modern jazz and the most popular disc of Davis' career, eventually selling over two million copies, a phenomenal success for a jazz record. In sessions held in November 1959 and March 1960, Davis again followed his pattern of alternating band releases and collaborations with Gil Evans, recording Sketches of Spain, containing traditional Spanish music and original compositions in that style. The album earned Davis and Evans Grammy nominations in 1960 for Best Jazz Performance, Large Group, and Best Jazz Composition, More Than 5 minutes; they won in the latter category.

By the time Davis returned to the studio to make his next band album in March 1961, Adderley had departed, Wynton Kelly had replaced Bill Evans at the piano, and John Coltrane had left to begin his successful solo career, being replaced by saxophonist Hank Mobley (following the brief tenure of Sonny Stitt). Nevertheless, Coltrane guested on a couple of tracks of the album, called Someday My Prince Will Come. The record made the pop charts in March 1962, but it was preceded into the bestseller lists by the Davis quintet's next recording, the two-LP set Miles Davis in Person (Friday & Saturday Nights at the Blackhawk, San Francisco), recorded in April. The following month, Davis recorded another live show, as he and his band were joined by an orchestra led by Gil Evans at Carnegie Hall in May. The resulting Miles Davis at Carnegie Hall was his third LP to reach the pop charts, and it earned Davis and Evans a 1962 Grammy nomination for Best Jazz Performance by a Large Group, Instrumental. Davis and Evans teamed up again in 1962 for what became their final collaboration, Quiet Nights. The album was not issued until 1964, when it reached the charts and earned a Grammy nomination for Best Instrumental Jazz Performance by a Large Group or Soloist with Large Group. In 1996, Columbia Records released a six-CD box set, Miles Davis & Gil Evans: The Complete Columbia Studio Recordings, that won the Grammy for Best Historical Album. Quiet Nights was preceded into the marketplace by Davis' next band effort, Seven Steps to Heaven, recorded in the spring of 1963 with an entirely new lineup consisting of saxophonist George Coleman, pianist Victor Feldman, bassist Ron Carter, and drummer Frank Butler. During the sessions, Feldman was replaced by Herbie Hancock and Butler by Tony Williams. The album found Davis making a transition to his next great group, of which Carter, Hancock, and Williams would be members. It was another pop chart entry that earned 1963 Grammy nominations for both Best Instrumental Jazz Performance by a Soloist or Small Group and Best Instrumental Jazz Performance by a Large Group. The quintet followed with two live albums, Miles Davis in Europe, recorded in July 1963, which made the pop charts and earned a 1964 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group, and My Funny Valentine, recorded in February 1964 and released in 1965, when it reached the pop charts. By September 1964, the final member of the classic Miles Davis Quintet of the 1960s was in place with the addition of saxophonist Wayne Shorter to the team of Davis, Carter, Hancock, and Williams. While continuing to play standards in concert, this unit embarked on a series of albums of original compositions contributed by the band members, starting in January 1965 with E.S.P., followed by Miles Smiles (1967 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group [7 or Fewer]), Sorcerer, Nefertiti, Miles in the Sky (1968 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group), and Filles de Kilimanjaro. By the time of Miles in the Sky, the group had begun to turn to electric instruments, presaging Davis' next stylistic turn. By the final sessions for Filles de Kilimanjaro in September 1968, Hancock had been replaced by Chick Corea and Carter by Dave Holland. But Hancock, along with pianist Joe Zawinul and guitarist John McLaughlin, participated on Davis' next album, In a Silent Way (1969), which returned the trumpeter to the pop charts for the first time in four years and earned him another small-group jazz performance Grammy nomination. With his next album, Bitches Brew, Davis turned more overtly to a jazz-rock style. Though certainly not conventional rock music, Davis' electrified sound attracted a young, non-jazz audience while putting off traditional jazz fans. Bitches Brew, released in March 1970, reached the pop Top 40 and became Davis' first album to be certified gold. It also earned a Grammy nomination for Best Instrumental Arrangement and won the Grammy for large-group jazz performance. He followed it with such similar efforts as Miles Davis at Fillmore East (1971 Grammy nomination for Best Jazz Performance by a Group), A Tribute to Jack Johnson, Live-Evil, On the Corner, and In Concert, all of which reached the pop charts. Meanwhile, Davis' former sidemen became his disciples in a series of fusion groups: Corea formed Return to Forever, Shorter and Zawinul led Weather Report, and McLaughlin and former Davis drummer Billy Cobham organized the Mahavishnu Orchestra. Starting in October 1972, when he broke his ankles in a car accident, Davis became less active in the early '70s, and in 1975 he gave up recording entirely due to illness, undergoing surgery for hip replacement later in the year. Five years passed before he returned to action by recording The Man With the Horn in 1980 and going back to touring in 1981. By now, he was an elder statesman of jazz, and his innovations had been incorporated into the music, at least by those who supported his eclectic approach. He was also a celebrity whose appeal extended far beyond the basic jazz audience. He performed on the worldwide jazz festival circuit and recorded a series of albums that made the pop charts, including We Want Miles (1982 Grammy Award for Best Jazz Instrumental Performance by a Soloist), Star People, Decoy, and You're Under Arrest. In 1986, after 30 years with Columbia, he switched to Warner Bros. Records and released Tutu, which won him his fourth Grammy for Best Jazz Instrumental Performance. Aura, an album he had recorded in 1984, was released by Columbia in 1989 and brought him his fifth Grammy for Best Jazz Instrumental Performance by a Soloist (on a Jazz Recording). Davis surprised jazz fans when, on July 8, 1991, he joined an orchestra led by Quincy Jones at the Montreux Jazz Festival to perform some of the arrangements written for him in the late '50s by Gil Evans; he had never previously looked back at an aspect of his career. He died of pneumonia, respiratory failure, and a stroke within months. Doo-Bop, his last studio album, appeared in 1992. It was a collaboration with rapper Easy Mo Bee, and it won a Grammy for Best Rhythm & Blues Instrumental Performance, with the track "Fantasy" nominated for Best Jazz Instrumental Solo. Released in 1993, Miles & Quincy Live at Montreux won Davis his seventh Grammy for Best Large Jazz Ensemble Performance.

Miles Davis took an all-inclusive, constantly restless approach to jazz that had begun to fall out of favor by the time of his death, even as it earned him controversy during his lifetime. It was hard to recognize the bebop acolyte of Charlie Parker in the flamboyantly dressed leader with the hair extensions who seemed to keep one foot on a wah-wah pedal and one hand on an electric keyboard in his later years. But he did much to popularize jazz, reversing the trend away from commercial appeal that bebop began. And whatever the fripperies and explorations, he retained an ability to play moving solos that endeared him to audiences and demonstrated his affinity with tradition. At a time when jazz is inclining toward academia and repertory orchestras rather than moving forward, he is a reminder of the music's essential quality of boundless invention, using all available means. 

(by William Ruhlmann from allmusic.com)

Ray Charles - Gigantes do Jazz (1980)

  1. Loosing Hand (1953)
  2. Mess Around (1953)
  3. A Fool For You (1958)
  4. I Got A Woman (1958)
  5. Don't Let The Sun Catch You Crying (with Ralph Burns and His Orchestra) (1959)
  6. Drown In My Own Tears (1959)
  7. The Right Time (1959)
  8. Alexander's Ragtime Band (1959)
  9. Let The Good Time Roll (1959)
O Gênio do Blues 

Ray Charles was the musician most responsible for developing soul music. Singers like Sam Cooke and Jackie Wilson also did a great deal to pioneer the form, but Charles did even more to devise a new form of black pop by merging '50s R&B with gospel-powered vocals, adding plenty of flavor from contemporary jazz, blues, and (in the '60s) country. Then there was his singing; his style was among the most emotional and easily identifiable of any 20th century performer, up there with the likes of Elvis and Billie Holiday. He was also a superb keyboard player, arranger, and bandleader. The brilliance of his 1950s and '60s work, however, can't obscure the fact that he made few classic tracks after the mid-'60s, though he recorded often and performed until the year before his death.

Blind since the age of six (from glaucoma), Charles studied composition and learned many instruments at the St. Augustine School for the Deaf and the Blind. His parents had died by his early teens, and he worked as a musician in Florida for a while before using his savings to move to Seattle in 1947. By the late '40s, he was recording in a smooth pop/R&B style derivative of Nat "King" Cole and Charles Brown. He got his first Top Ten R&B hit with "Baby, Let Me Hold Your Hand" in 1951. Charles' first recordings came in for their fair share of criticism, as they were much milder and less original than the classics that would follow, although they're actually fairly enjoyable, showing strong hints of the skills that were to flower in a few years.

In the early '50s, Charles' sound started to toughen as he toured with Lowell Fulson, went to New Orleans to work with Guitar Slim (playing piano on and arranging Slim's huge R&B hit, "The Things That I Used to Do"), and got a band together for R&B star Ruth Brown. It was at Atlantic Records that Ray Charles truly found his voice, consolidating the gains of recent years and then some with "I Got a Woman," a number-two R&B hit in 1955. This is the song most frequently singled out as his pivotal performance, on which Charles first truly let go with his unmistakable gospel-ish moan, backed by a tight, bouncy horn-driven arrangement.

Throughout the '50s, Charles ran off a series of R&B hits that, although they weren't called "soul" at the time, did a lot to pave the way for soul by presenting a form of R&B that was sophisticated without sacrificing any emotional grit. "This Little Girl of Mine," "Drown in My Own Tears," "Hallelujah I Love Her So," "Lonely Avenue," and "The Right Time" were all big hits. But Charles didn't really capture the pop audience until "What'd I Say," which caught the fervor of the church with its pleading vocals, as well as the spirit of rock & roll with its classic electric piano line. It was his first Top Ten pop hit, and one of his final Atlantic singles, as he left the label at the end of the '50s for ABC.

One of the chief attractions of the ABC deal for Charles was a much greater degree of artistic control of his recordings. He put it to good use on early-'60s hits like "Unchain My Heart" and "Hit the Road Jack," which solidified his pop stardom with only a modicum of polish attached to the R&B he had perfected at Atlantic. In 1962, he surprised the pop world by turning his attention to country & western music, topping the charts with the "I Can't Stop Loving You" single, and making a hugely popular album (in an era in which R&B/soul LPs rarely scored high on the charts) with Modern Sounds in Country and Western Music. Perhaps it shouldn't have been so surprising; Charles had always been eclectic, recording quite a bit of straight jazz at Atlantic, with noted jazz musicians like David "Fathead" Newman and Milt Jackson.

Charles remained extremely popular through the mid-'60s, scoring big hits like "Busted," "You Are My Sunshine," "Take These Chains From My Heart," and "Crying Time," although his momentum was slowed by a 1965 bust for heroin. This led to a year-long absence from performing, but he picked up where he left off with "Let's Go Get Stoned" in 1966. Yet by this time Charles was focusing increasingly less on rock and soul, in favor of pop tunes, often with string arrangements, that seemed aimed more at the easy listening audience than anyone else. Charles' influence on the rock mainstream was as apparent as ever; Joe Cocker and Steve Winwood in particular owe a great deal of their style to him, and echoes of his phrasing can be heard more subtly in the work of greats like Van Morrison.

One approaches sweeping criticism of Charles with hesitation; he was an American institution, after all, and his vocal powers barely diminished over his half-century career. The fact remains, though, that his work after the late '60s on record was very disappointing. Millions of listeners yearned for a return to the all-out soul of his 1955-1965 classics, but Charles had actually never been committed to soul above all else. Like Aretha Franklin and Elvis Presley, his focus was more upon all-around pop than many realize; his love of jazz, country, and pop standards was evident, even if his more earthy offerings were the ones that truly broke ground and will stand the test of time. He dented the charts (sometimes the country ones) occasionally, and commanded devoted international concert audiences whenever he felt like it. For good or ill, he ensured his imprint upon the American mass consciousness in the 1990s by singing several ads for Diet Pepsi. He also recorded three albums during the '90s for Warner Bros., but remained most popular as a concert draw. In 2002, he released Thanks for Bringing Love Around Again on his own Crossover imprint, and the following year began recording an album of duets featuring B.B. King, Willie Nelson, Michael McDonald, and James Taylor. After hip replacement surgery in 2003, he scheduled a tour for the following summer, but was forced to cancel an appearance in March 2004. Three months later, on June 10, 2004, Ray Charles succumbed to liver disease at his home in Beverly Hills, CA. 

(by Richie Unterberger from allmusic.com)

Louis Armstrong - Gigantes do Jazz (1980)

  1. Muskrat Rumble (1926)
  2. Cornet Chop Suey (1926)
  3. Potato Head Blues (1927)
  4. Sol Blues (1927)
  5. West End Blues (1928)
  6. Squeeze Me (1928)
  7. Basin St. Blues (1928)
  8. Back O'Town Blues (1948)
  9. Rockin' Chair (1948)
  10. Save It Pretty Mama (1948)
  11. Ain't Misbehavin' (1948)
A Personificação do Jazz 

Louis Armstrong was the first important soloist to emerge in jazz, and he became the most influential musician in the music's history. As a trumpet virtuoso, his playing, beginning with the 1920s studio recordings made with his Hot Five and Hot Seven ensembles, charted a future for jazz in highly imaginative, emotionally charged improvisation. For this, he is revered by jazz fans. But Armstrong also became an enduring figure in popular music, due to his distinctively phrased bass singing and engaging personality, which were on display in a series of vocal recordings and film roles.

Armstrong had a difficult childhood. William Armstrong, his father, was a factory worker who abandoned the family soon after the boy's birth. Armstrong was brought up by his mother, Mary (Albert) Armstrong, and his maternal grandmother. He showed an early interest in music, and a junk dealer for whom he worked as a grade-school student helped him buy a cornet, which he taught himself to play. He dropped out of school at 11 to join an informal group, but on December 31, 1912, he fired a gun during a New Year's Eve celebration, for which he was sent to reform school. He studied music there and played cornet and bugle in the school band, eventually becoming its leader. He was released on June 16, 1914, and did manual labor while trying to establish himself as a musician. He was taken under the wing of cornetist Joe "King" Oliver, and when Oliver moved to Chicago in June 1918, he replaced him in the Kid Ory Band. He moved to the Fate Marable band in the spring of 1919, staying with Marable until the fall of 1921.

Armstrong moved to Chicago to join Oliver's band in August 1922 and made his first recordings as a member of the group in the spring of 1923. He married Lillian Harden, the pianist in the Oliver band, on February 5, 1924. (She was the second of his four wives.) On her encouragement, he left Oliver and joined Fletcher Henderson's band in New York, staying for a year and then going back to Chicago in November 1925 to join the Dreamland Syncopators, his wife's group. During this period, he switched from cornet to trumpet.

Armstrong had gained sufficient individual notice to make his recording debut as a leader on November 12, 1925. Contracted to OKeh Records, he began to make a series of recordings with studio-only groups called the Hot Fives or the Hot Sevens. For live dates, he appeared with the orchestras led by Erskine Tate and Carroll Dickerson. The Hot Fives' recording of "Muskrat Ramble" gave Armstrong a Top Ten hit in July 1926, the band for the track featuring Kid Ory on trombone, Johnny Dodds on clarinet, Lillian Harden Armstrong on piano, and Johnny St. Cyr on banjo.

By February 1927, Armstrong was well-enough known to front his own group, Louis Armstrong & His Stompers, at the Sunset Café in Chicago. (Armstrong did not function as a bandleader in the usual sense, but instead typically lent his name to established groups.) In April, he reached the charts with his first vocal recording, "Big Butter and Egg Man," a duet with May Alix. He took a position as star soloist in Carroll Dickerson's band at the Savoy Ballroom in Chicago in March 1928, later taking over as the band's frontman. "Hotter than That" was in the Top Ten in May 1928, followed in September by "West End Blues," which later became one of the first recordings named to the Grammy Hall of Fame.

Armstrong returned to New York with his band for an engagement at Connie's Inn in Harlem in May 1929. He also began appearing in the orchestra of Hot Chocolates, a Broadway revue, given a featured spot singing "Ain't Misbehavin'." In September, his recording of the song entered the charts, becoming a Top Ten hit.

Armstrong fronted the Luis Russell Orchestra for a tour of the South in February 1930, then in May went to Los Angeles, where he led a band at Sebastian's Cotton Club for the next ten months. He made his film debut in Ex-Flame, released at the end of 1931. By the start of 1932, he had switched from the "race"-oriented OKeh label to its pop-oriented big sister Columbia Records, for which he recorded two Top Five hits, "Chinatown, My Chinatown" and "You Can Depend on Me" before scoring a number one hit with "All of Me" in March 1932; another Top Five hit, "Love, You Funny Thing," hit the charts the same month. He returned to Chicago in the spring of 1932 to front a band led by Zilner Randolph; the group toured around the country. In July, Armstrong sailed to England for a tour. He spent the next several years in Europe, his American career maintained by a series of archival recordings, including the Top Ten hits "Sweethearts on Parade" (August 1932; recorded December 1930) and "Body and Soul" (October 1932; recorded October 1930). His Top Ten version of "Hobo, You Can't Ride This Train," in the charts in early 1933, was on Victor Records; when he returned to the U.S. in 1935, he signed to recently formed Decca Records and quickly scored a double-sided Top Ten hit, "I'm in the Mood for Love"/"You Are My Lucky Star."

Armstrong's new manager, Joe Glaser, organized a big band for him that had its premiere in Indianapolis on July 1, 1935; for the next several years, he toured regularly. He also took a series of small parts in motion pictures, beginning with Pennies From Heaven in December 1936, and he continued to record for Decca, resulting in the Top Ten hits "Public Melody Number One" (August 1937), "When the Saints Go Marching in" (April 1939), and "You Won't Be Satisfied (Until You Break My Heart)" (April 1946), the last a duet with Ella Fitzgerald. He returned to Broadway in the short-lived musical Swingin' the Dream in November 1939.

With the decline of swing music in the post-World War II years, Armstrong broke up his big band and put together a small group dubbed the All Stars, which made its debut in Los Angeles on August 13, 1947. He embarked on his first European tour since 1935 in February 1948, and thereafter toured regularly around the world. In June 1951 he reached the Top Ten of the LP charts with Satchmo at Symphony Hall ("Satchmo" being his nickname), and he scored his first Top Ten single in five years with "(When We Are Dancing) I Get Ideas" later in the year. The single's B-side, and also a chart entry, was "A Kiss to Build a Dream On," sung by Armstrong in the film The Strip. In 1993, it gained renewed popularity when it was used in the film Sleepless in Seattle.

Armstrong completed his contract with Decca in 1954, after which his manager made the unusual decision not to sign him to another exclusive contract but instead to have him freelance for different labels. Satch Plays Fats, a tribute to Fats Waller, became a Top Ten LP for Columbia in October 1955, and Verve Records contracted Armstrong for a series of recordings with Ella Fitzgerald, beginning with the chart LP Ella and Louis in 1956.

Armstrong continued to tour extensively, despite a heart attack in June 1959. In 1964, he scored a surprise hit with his recording of the title song from the Broadway musical Hello, Dolly!, which reached number one in May, followed by a gold-selling album of the same name. It won him a Grammy for best vocal performance. This pop success was repeated internationally four years later with "What a Wonderful World," which hit number one in the U.K. in April 1968. It did not gain as much notice in the U.S. until 1987 when it was used in the film Good Morning, Vietnam, after which it became a Top 40 hit. Armstrong was featured in the 1969 film of Hello, Dolly!, performing the title song as a duet with Barbra Streisand. He performed less frequently in the late '60s and early '70s, and died of a heart ailment at 69.

Louis Armstrong was embraced by two distinctly different audiences: jazz fans who revered him for his early innovations as an instrumentalist, but were occasionally embarrassed by his lack of interest in later developments in jazz and, especially, by his willingness to serve as a light entertainer; and pop fans, who delighted in his joyous performances, particularly as a vocalist, but were largely unaware of his significance as a jazz musician. Given his popularity, his long career, and the extensive label-jumping he did in his later years, as well as the differing jazz and pop sides of his work, his recordings are extensive and diverse, with parts of his catalog owned by many different companies. But many of his recorded performances are masterpieces, and none are less than entertaining. 

(by William Ruhlmann from allmusic.com)

sexta-feira, 16 de setembro de 2011

The Beegie Adair Trio - The Nat King Cole Collection

  1. Sweet Lorraine
  2. L-O-V-E
  3. Unforgettable
  4. Straighten Up And Fly Right
  5. Mona Lisa
  6. Smile
  7. Route 66
  8. That Sunday, That Summer
  9. Orange Colored Sky
  10. Darling, Je Vous Aime
  11. Walkin' My Baby Back Home
  12. Too Young
Nat King Cole Collection

101 Strings Orchestra - The Soul Of Poland

  1. Polish National Anthem
  2. Medley: Welcome May Dawn / The Uhlan And The Girl
  3. White Roses Are Blooming
  4. Medley: Hunting Song / To Wawvel
  5. Medley: My Little Quail / On A Monday Morning / Polita
  6. How Beautiful Is Our Poland
  7. Mazurka Medley: Come And Join The Gay Mazurka / Z Nad Wisly Oberek / Polska Krew-Kujawiak / Po Naszemu / Polish Dance / Come And Join The Gay Mazurka (Reprise)
  8. Medley: Highland Song / Near The Wood / How Charming Is The Eve
  9. We Drift Further Apart
  10. Our Sons Have Died For Poland
  11. I'm From Krakow
  12. Polish Polka Medley: Secessys Polka / I Love You (Ja Kocham Cie) / By Wawvelu Castle (Z Pod Wawelu Krakowiak) / Secessys Polka (Reprise)
  13. Reverie (Debussy)
  14. Medley: Polonaise (Chopin) / Polish National Anthem
The Soul Of Poland

quarta-feira, 14 de setembro de 2011

Saint-Preux - Concerto pour Piano

  1. Introduction
  2. Concerto Pour Piano (En La Bémol Majeur)
  3. Feel Good
  4. Intermède
  5. Where Angels Go
  6. Times Come To Go Back Home
  7. Times Come To Go Back Home (Instrumental)
  8. Your Music Is So Soft
  9. Final
Concerto Pour Piano

Percy Faith Plays The Academy Award Winner - Born Free and other Great Movie Themes

  1. Georgy Girl (From The Motion Picture "Georgy Girl")
  2. Somewhere My Love (Lara's Theme from "Dr. Zhivago")
  3. A Man And A Woman (From The Motion Picture "Un Homme Et Une Femme")
  4. This Hotel (From The Warner Bros. Picture "Hotel")
  5. Theme From "The Sand Pebbles" (And We Were Lovers)
  6. The Wishing Doll (From The United Artists Picture "Hawaii")
  7. Born Free (From The Columbia Picture "Born Free")
  8. This Is My Song (From The Motion Picture "A Countess From Hong Kong")
  9. Alfie (From The Paramount Picture "Alfie")
  10. Song From "The Oscar"
  11. A Time For Love (From The Warner Bros. Picture "An American Dream")

For over thirty years, the movies have been a fertile source of some of the world's greatest song hits. There was a time-before the seventh annual Academy awards presentation in 1935, the year an Oscar for Best Song made its debut - when a song's success originated either in a Broadway show, or from that musically productive area in mid-Manhattan known affectionately as Tin Pan Alley. When sound came to the "flicks" in the late Twenties, however, many songwriters moved West to lend their talents to the spectacular musicals that issued in profusion from the film capital.

Since then, motion picture producers have called upon the services of the best composers and lyricists on both sides of the Atlantic to provide songs and theme music for their films, whether musical or dramatic. Today, over thirty Academy Award-winning songs have lingered on to embellish America's and the world's musical landscape.

This year, the thirty-ninth gala Oscar-awarding ceremony was more exciting than ever. To all those present at Santa Monica's Civic Auditorium (as either spectators or as hopeful winners) and to the millions witnessing the event on television, one of the most eagerly awaited announcements was that for Best Song. And here to perform the winner and the four other distinguished Oscar nominees is Percy Faith. Percy's arrangements for his orchestra are, as you might expect, superb demonstrations of how great popular music can be made to sound greater still. As an added bonus, Percy conducts many more fine movie songs and themes, both new and recent.

Renew the pleasure you experienced when you saw these outstanding films, and rediscover the Academy Award-caliber music that helped make them memorable. Listen, and relive all the excitement of the movies themselves, and the breathtaking Academy Award presentations that honored them!

(From the original liner notes)

terça-feira, 6 de setembro de 2011

Manutencão técnica!

A partir desta quarta-feira (dia 7 de setembro) estaremos com nossas atividades temporariamente paralisadas devido ao feriado prolongado. Nosso servidor de streaming também estará inativo a fim de proceder alguns ajustes técnicos na transmissão. 

A Silver House Webradio voltará com sua programacão normal a partir da próxima segunda-feira (dia 12 de setembro) às 20:00 h (horário de Brasília). Até lá!

From this Wednesday (Sept. 7) with our activities will be temporarily halted due to the Brazilian holiday weekend. Our streaming server is down well to make some technical adjustments in the transmission.

The Silver House Webradio will return to your normal schedule starting next Monday (Sept. 12) 20:00 (GMT). Until then!

The Max Hedrom Team

Paul Mauriat - A Grande Orquestra de Paul Mauriat Nº 11

  1. El Condor Pasa
  2. Love Story
  3. My Sweet Lord
  4. Melancholy Man
  5. Lonely Days
  6. Reviens, Je T'Aime (Midnight)
  7. Comme J'Ai Toujours Envie D'Aimer
  8. Darla Dirla Da Da
  9. Pardonne-Moi Ce Caprice D'Enfant
  10. L'Amerique (Yellow River)
  11. In The Summertime
  12. Sympathy
Paul Mauriat Nº 11

sábado, 3 de setembro de 2011

Living Strings - Play The Music From Darling Lili

  1. Darling Lili
  2. Skäl
  3. I'll Give You Three Guesses
  4. Whistling Away The Dark
  5. Your Good-Will Ambassador
  6. Smile Away Each Rainy Day
  7. The Girl In No Man's Land
  8. Les P'tits Oiseaux (The Little Birds)
  9. Gypsy Violins
  10. Can-Can Cafe
Delightful Renditions of songs from "Darling Lili"

When a lavish new technicolor movie combines thrilling espionage, raucous comedy and bright, tuneful songs plus two sensational stars like Julie Andrews and Rock Hudson, you know it's just got to be a hit. "Darling Lili" is just that - spectacular, diversified and star-studded - and there's not a moment in it that won't be enjoyed by every member of the family.

The story, which takes place during World War I, has to do with a spirited English songstress who is actually a German spy noted for her ability to pry secrets out of the unsuspecting enemy. However, when one of the enemies assigned to her turns out to be a dashing young American commander, Lili has a little trouble keeping her mind on her work. She finds she is more interested in his romantic activities than in his war feats, and jealousy consumes her when she catches him out with a French nightclub star. Using every trick she has learned in her devious little trade, she causes him to be arrested for high treason and, needless to say, nearly blows her chances with him as well. But all is eventually forgiven and forgotten and the end of the picture finds Lili and her commander happily together.

The delightful score of "Darling Lili" is by the Academy Award Winning team of Henry Mancini and Johnny Mercer. Played here by the Living Strings, the songs take on that lush, rich sound that only the Strings can give them. Arranged and conducted by the talented Johnny Douglas, such numbers as "Whistling Away The Dark", "I'll Give You Three Guesses", "Let's P'tits Oiseaux (The Little Birds)", "Smile Away Each Rainy Day" and, of course, the title song, "Darling Lili", prove a welcome addition to the Living Strings' vast repertoire.

(Debbie Sherwood, from the original liner notes)

Darling Lili

sexta-feira, 2 de setembro de 2011

Billy May and His Orchestra - Guest The Four Freshmen

  1. All Of Me
  2. If I Had You
  3. Charmaine
  4. Unforgettable
  5. Fat Man Boogie
  6. Lean Baby
  7. My Silent Love
  8. There Is No Greater Love
  9. I Guess I'll Have to Change My Plan
  10. Mayhem
  11. When My Sugar Walks Dows The Street
  12. Lulu's Back In Town
  13. I Want To Be Happy
  14. Ole Buttermilk Sky
  15. I Can't give You Anything But Love
  16. You Make Me Feel So Young
  17. Save The Bones For Henry Jones
  18. Swinging On a Star
  19. On The Sunny Side Of The Street
  20. On The Atchinson, Topeka And Santa Fe
  21. Aren't You Glad You're You
  22. Happy Talk
  23. Accent-Tchu-Ate The Positive
Guest The Four Freshmen

The last of the great arrangers who wrote regularly for Frank Sinatra, Billy May had several varied careers in and out of jazz. His first notable gig was as an arranger/trumpeter with Charlie Barnet (1938-1940), for whom he wrote the wah-wah-ing hit arrangement of Ray Noble's "Cherokee." Later, he worked in the same capacities for Glenn Miller (1940-1942) and Les Brown (1942) before settling into staff jobs, first at NBC studios, then at Capitol Records, where he led his own studio big band from 1951 to 1954. His arrangements for Sinatra, beginning with Come Fly With Me (1957) and ending with Trilogy (1979), are often in a walloping, brassy, even taunting swing mode, generating some of the singer's most swaggering vocals. May also did extensive scoring for television, film, and commercials. Although May was largely inactive in the '80s and '90s , he unexpectedly surfaced in 1996 with some typically bright big band charts for comic Stan Freberg's The United States of America, Vol. 2 (Rhino), 25 years after his contributions to Vol. 1. The veteran arranger died quietly at home on January 22, 2004 at the age of 87.

quinta-feira, 1 de setembro de 2011

Hill Bowen And His Orchestra - Love On Broadway - For Hi-Fi Living

  1. They Didn't Believe Me (The Girl From Utah)
  2. My Ship (Lady In The Dark)
  3. Wunderbar (Kiss Me, Kate)
  4. Make Believe (Show Boat)
  5. Smoke Gets In Your Eyes (Roberta)
  6. June Is Bustin' Out All (Carousel)
  7. Love Walked In (The Goldwyn Follies)
  8. Some Enchanted Evening (South Pacific)
  9. The Night Was Made For Love (The Cat And The Fiddle)
  10. Orchids In The Moonlight (Flying Down To Rio)
  11. September Song (Knickerbocker Holiday)
  12. Falling In Love With Love (The Boys From Syracuse)
Ten history-making Broadway shows and two great movies provide the romantic hit songs in this album. Here are melodies by some of the most renowned composers of the American musical theater - men like George Gershwin, Jerome Kern, Cole Porter, Richard Rodgers, Kurt Weill and Vincent Youmans.

All the glamor and enchantment of the theater is captured in these dramatic musical settings...and you'll discover here a listening experience which will give you countless hours of pleasure.

A fascinating variety of moods, rhythms and tempos are smoothly linked by subtle piano interludes. You'll thoroughly enjoy the unforgettable showmanship lavished on this magic group of Broadway show tunes.

(From the original liner notes)

Love On Broadway

Franck Pourcel et Son Grand Orchestre - I Love You

Bert Kaempfert and His Orchestra - Live In Concert at the Royal Albert Hall, London, 1974

  1. Medley: Market Day / Gentleman Jim / Mexican Road / Happy Trumpeter
  2. Bye Bye Blues
  3. Never My Love
  4. A Song For Satch
  5. Wonderland By Night
  6. That Happy Feeling
  7. Strangers In The Night
  8. All I Ever Need Is You
  9. Blue Midnight
  10. Three O'Clock In The Morning
  11. Tahitian Sunset
  12. Afrikaan Beat
  13. Sweet Caroline
  14. Take The "A" Train
  15. I Cover The Waterfront
  16. Let Me Be There
  17. Melancholy Serenade
  18. Tuxedo Junction
  19. L.O.V.E.
  20. A Swingin' Safari
  21. Red Roses For A Blue Lady
  22. Over The Rainbow
  23. Skyliner
  24. Moon Over Naples (Spanish Eyes)
  25. Danke Schoen
  26. The Good Life (Marina)
Collectors and Kaempfert fanatics may well ask themselves as they pick up this record, how it is that this is the first live recording to proudly take its place on their shelves. Have they missed an album or two somewhere along the line, or can this really be the frist ever "Live Kaempfert" recording?

The fact is, of course, as the truly initiated will already know, that this is not only the first ever live Kaempfert recording. But what's more, the concert at which it was recorded was the first time ever in Kaempfert's musical career that he appeared with his orchestra, live before a concert audience.

Longstanding writer of hits, musician and arranger supreme, it was nonetheless a totally new experience for the "Maestro" to stand on the podium of the Royal Albert Hall on the evening of 22.4.1974 and to voluntarily welcome several thousand strangers to be present at what had for him hitherto always been a private occasion, usually confined within studio walls. An evening with Bert Kaempfert conducting his own orchestra playing many of his own compositions live before an audience was truly history making.

The titles of those compositions will speak for themselves, as will also the unique musical atmosphere generated by Kaempfert himself as he conducts, on this record, for the first time publicly.

(From the original liner notes)

Live In Concert

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