segunda-feira, 31 de outubro de 2011

Henry Mancini and The Mancini Pops Orchestra - As Time Goes By and other Classic Movie Love Songs

  1. As Time Goes By
  2. One For My Baby
  3. Everything I Do (I Do It For You)
  4. Stella By Starlight
  5. Windmills Of Your Mind
  6. Crazy World
  7. That Old Black Magic
  8. Unchained Melody
  9. Mona Lisa
  10. Call Me Irresponsible / The Second Time Around
  11. Two For The Road
  12. It's All There
  13. The Summer Knows (Summer Of '42)
  14. Tender Is The Night
  15. Charade
As Time Goes By


For his third album recorded directly in Dolby Surround, Henry Mancini returns to a popular musical milieu that he has helped to define: the classic movie love song. As Time Goes By is an unabashedly romantic collection of melodies in which that special Mancini touch is evident throughout.

Technically, Herman Hupfield's As Time Goes By shouldn't qualify as a movie love song because it was not written for "Casablanca". It was first heard in 1931 in a Broadway show entitled "Everybody's Welcome" which lasted 131 performances. It wasn't until 11 years later, when it was used to define the power ore song can have over the destinies of two people whose problems "don't amount to a hill of beans", that it became a classic love song. It's interesting to note that Max Steiner, the composer of the film's musical score, didn't want to incorporate the song as his main theme; he wanted to compose a new song for the film. That would have been all right with Warner Brothers were it not for the fact that once shooting was completed Ingrid Bergman got her hair cut in such a manner that it was impossible to reshoot. As Time Goes By is the quintessential movie love song - full of regret, hope and passion - the perfect recipe for a love affair.

"The Sky's The Limit" (1943) was a wartime musical that offered Fred Astaire as a soldier on leave in New York who naturally falls in love with a beautiful girl played by Joan Leslie. The movie featured some fine Astaire dancing and the Harold Arlen/Johnny Mercer soon-to-be-classic barroom request One For My Baby.

The tradition of great movie love songs continues today with Everything I Do (I Do It For You) from the 1991 film of "Robin Hood, Prince Of Thieves". In that film the solid goodness of Kevin Costner's Robin was well matched by the shimmering beauty and intelligence of Mary Elizabeth Mastrantonio's Maid Marian. With these two performers at the film's center, this romantic theme written by Bryan Adams, R. J. Lange and Michael Kamen hit a bull's eye with movie audiences and soared to the top of the charts.

Victor Young and Ned Washington's haunting classic Stella By Starlight is from, appropriately enough, the popular ghost story The Uninvited (1944). It starred Ray Milland and Ruth Hussey as a couple who buy a house in England and discover the previous tenants haven't left.

Norman Jewinson's 1968 film "The Thomas Crown Affair" was notable for its sexy star performances from Steve McQueen and Faye Dunaway, its complex caper plot, its dazzling multi-image cinematography and editing, and most of all, the swirling Academy Award-winning song The Windmills Of Your Mind with music by Michel Legrand and lyrics by Alan and Marilyn Bergman.

Crazy World with music by Mancini and lyrics by Leslie Bricusse is from Blake Edward's "Victor/Victoria" (1982). the film was something all too rare, a very hip, very stylish, old fashioned musical comedy that featured Julie Andrews as a woman impersonating a man impersonating a woman, James Garner as the gangster that falls for her/him/her, Robert Preston as Julie's completely outrageous mentor and Lesley Ann Warren as the gangster's moll - a woman who makes the most of every opportunity. The song perfectly conveys the film's deeper message that was at the heart of the story. For this score Messrs. Mancini and Bricusse won an Academy Award. This recording marks the frist time the instrumental version of this song is heard in its entirely.

"Star-Spangled Rhythm" (1942) was not much more than a filmed variety show that sought to boost the country's morale during the war. It featured Bing Crosby, Bob Hope, Veronica Lake and Betty Grable. However, any movie that has a song as bewitching as Harold Arlen and Johnny Mercer's That Old Black Magic can't be ignored, and in this version Mancini returns the song to its "voodo" roots.

Alex North and Hy Zaret's Unchained Melody is from Hall Bartlett's 1955 prison film "Unchained". It was nominated for an Academy Award that year - but lost. In 1990 the song was ressurrected for the film "Ghost" and the rest is movie love song history. Listening to it, how can you not think of Demi Moore in front of a potter's wheel with the ghost of Patrick Swayze surrounding her?

Mona Lisa won an Academy Award in 1950 for its authors Jay Livingston and Ray Evans. It was made immortal by Nat King Cole and was used as the theme (as well as title) for Neil Jordan's gritty off-beat 1986 drama about an obsessive two-bit British hood played by Bob Hoskins. The movie it was originally written for was "Captain Carey, USA", starring Alan Ladd and Frances Lederer and directed by Mitchell Leisen. Few remember the film, but who can forget the song?

The 1963 Academy Award for Best Song went to Call Me Irresponsible which was written by Sammy Cahn and Jimmy Van Heusen for the stylish period comedy "Papa's Delicate Condition". The movie starred Jackie Gleason and Glynis Johns as a husband who liked to drink and a wife who wants to reform him. Blake Edward's "High Time" (1960) starred Bing Crosby as a wealthy widower who returns to college to complete his education. Tuesday Weld and Fabian co-starred as his fellow students. For this film, Cahn and Van Heusen wrote The Second Time Around and received an Oscar nomination. By putting these songs together, Mancini gives us a medley that reflects a kind of love that isn't so much passionate as it is imperfect, reflective and comfortable.

Easily one of the most sophisticated films of the 1960's, Two for The Road (1967) starred Audrey Hepburn and Albert Finney. It was directed by Stanley Donen from a script by Frederic Raphael. When viewed today it is still a sly, mature, painful, and funny film done with great style and wit. Mancini's evocative score matches the film's title song stands with the best of movie love songs.

With "Switch" in 1990, Blake Edward's revisited the always-changing world of sex roles that he previously explored in "Victor/Victoria". This time the film was about a dead man reincarnated in a beautiful woman's body. The beautiful woman was played by the gifted Ellen Barkin. The song It's All There is one of Mancini's lovelier melodies of recent years. "Switch" marked the first time that Mancini worked with David Wilson, whose extraordinary electric violin is heard on this track, as well as several others on this recording.

Michel Legrand's score for "Summer Of '42" (1971) won the Oscar for Best Original Score that year. The haunting main theme, The Summer Knows, evokes the pain, confusion and memory of a young man's coming of age, and of a romance that was lost. Robert Mulligan's pastoral film set on Cape Cod during World War II was the surprise hit of the summer of '71.

With music by Sammy Fain and lyrics by Paul Francis Webster, Tender Is The Night (1962) from the film of the same name is typical of the kind of lush love songs prevalent in films of the 50's and 60's. The film, starring Jason Robards and Jennifer Jones, was based upon F. Scott Fitzgerald's novel. Set in the Roaring 20's, it told the story of a psychiatrist who marries one of his patients and how the marriage destroys them both.

And finally, Mancini's own Charade (1963), a wonderful song that was in contention for the Academy Award that Call Me Irresponsible won. The film, a perfect mix of suspense, comedy, and of course, romance, was directed by Stanley Donen and starred Cary Grant and Audrey Hepburn. A classic movie. A classic Mancini/Mercer movie love song. A perfect coda to this album. What could be better?

(Bill Rosenfield, from the original liner notes)

domingo, 30 de outubro de 2011

Ray Conniff and The Singers - Love Affair

  1. For All We Know
  2. The Second Time Around
  3. Just Friends
  4. Love Is A Many Splendored Thing
  5. Chloe
  6. Mam'Selle
  7. Try A Little Tenderness
  8. Hi-Lili, Hi-Lo
  9. Taking A Chance On Love
  10. Three Coins In The Fountain
  11. I'm Always Chasing Rainbows
  12. Goodnight, Sweetheart
Produced by Ernie Altschuler
Solo Guitar: Al Hendrickson

It may be the tender strains of "Just Friends", "Mam'Selle", "Hi-Lili, Hi-Lo" or "Goodnight, Sweetheart"; the appealing sadness of "For All We Know", "The Second Time Around" or "I'm Always Chasing Rainbows"; or the joy of "Love Is A Many Splendored Thing".

Whether it's for relaxed listening, for dancing, for putting life into a party, Ray Conniff and the Singers turn every song in their newest album into an unforgettable LOVE AFFAIR.

The arrangements used in this record - adapted for choral use with from four to four hundred voices, with or without orchestral accompaniment, or for home or solo use with piano accompaniment - are published by The Big Three Group, Robbins - Leo Feist - Miller Music.

(From the original liner notes)

Love Affair

quinta-feira, 27 de outubro de 2011

Edmundo Ros and His Orchestra - Rhythms of the South

  1. Spanish Gipsy Dance
  2. The Blue Danube (Strauss)
  3. Barcarolle (Offenbach)
  4. La Maxixe
  5. Capullito de Aleli
  6. Siboney
  7. Isle of Capri
  8. Colonel Bogey
  9. My Friend Elizabeth
  10. Caminito
  11. Marta
  12. Cachita
Rhythms of the South

Orquestra Românticos de Monte Carlo - Emmanuelle

  1. Je T'Aime, Moi Non Plus
  2. Emmanuelle
  3. Bilitis
  4. Le Reve
  5. La Prima Volta
  6. I Feel Love
  7. Feelings
  8. Histoire d'O
  9. Les Femmes
  10. Tornero
  11. Black Emmanuelle
  12. Love To Love You Baby
Emmanuelle

terça-feira, 25 de outubro de 2011

Edmundo Ros & His Orchestra - That Latin Sound

  1. The Peanut Vendor
  2. Frenesi
  3. Brazil
  4. TicoTico
  5. Maria Elena
  6. Perfidia
  7. Taboo
  8. Miami Beach Rumba
  9. Mambo No. 5
  10. Lady Of Spain
  11. Cielito Lindo
  12. A Felicidade
  13. Delicado
  14. Rumba Rhapsody
  15. The Wedding Samba
  16. The Carioca
  17. La Paloma
  18. Quiereme Mucho
That Latin Sound

Edmundo Ros (1910-2011)

Bandleader Edmundo Ros was the living embodiment of Latin music in World War II-era Britain. The toast of London's high society, he effectively introduced the rhumba and samba to the U.K. shores. Born December 7, 1910, in Port-of-Spain, Trinidad, to a Scottish father and an African-Venezuelan mother, Ros spent much of his childhood in military school, playing percussion in the military band. The experience was otherwise miserable, however, and at 17 he ran away to Caracas, where he served as tympanist in the Symphony Orchestra of Venezuela. A decade later Ros migrated to London, where he briefly studied classical music before pursuing popular music full-time, backing Fats Waller and singing with Don Marino Barreto's Cuban band prior to forming his own five-piece rhumba outfit in 1940. After scoring a hit with 1941's Parlophone release "Los Hijos de Buda," Ros became a sensation, attracting the cream of London society to his appearances at the lavish Coconut Grove. When the defendant in a high-profile divorce case implicated Ros as a catalyst for his marriage's demise, the bandleader made national headlines, and the sex scandal only made him more popular, and he even taught then-Princess Elizabeth and her sister Princess Margaret to dance. After a long residency at the West End club the Bagatelle, Ros in 1951 acquired the former Coconut Grove site on Regent Street and renamed the venue Edmundo Ros' Dinner and Supper Club. He also made regular appearances on BBC radio, and his albums for the London label's Phase 4 imprint (including the space age pop classics Rhythms of the South and Arriba!) sold briskly. His biggest hit, "The Wedding Samba," even crossed over to the U.S. Top Five, selling three million copies in the process. After Parliament legalized gambling in 1965, attendance at Ros' club quickly nosedived, and he sold the business as soon as possible. He retired to Alicante, Spain, a decade later, returning to London's Queen Elizabeth Hall on January 8, 1994, for one final farewell performance leading the BBC Big Band with Strings. Ros was also awarded the Order of the British Empire in the 2000 New Year's Honours List. 

(by Jason Ankeny from allmusic.com)

    Edmundo Ros

    The seductively orchestrated Latin-pop songs that set British feet tapping in the 1940s and 50s made the Trinidad-born bandleader Edmundo Ros a household name. But beside such musical success, Ros, who has died aged 100, made a remarkable reinvention of his life: the mixed-race "outsider" successfully challenged the British class system, to become, as he put it, "a respected gentleman".

    When he went to London in June 1937 to study at the Royal Academy of Music, he felt racially categorised by being sent to lodgings for colonial students. A tall, strikingly handsome man, he was determined to crash through such restrictions. Within five years, he had deployed his talents, charisma and charm to good enough effect to find himself performing for the future Queen of England – and was himself developing a cut-glass accent.

    Ros began this transformation as soon as he arrived in the capital. On his first night there, he went to the Nest club in Soho to join pianist Don Marino Barreto as a drummer in Cuban songs. The next day, he was hired to play drums and sing on the Mayfair circuit of fashion salons and supper clubs, and in 1938 recorded with both Barreto and Fats Waller.

    Ros often ran Barreto's Dance Orchestra, modelled on the influential Havana band, the Lecuona Cuban Boys. He opened Mayfair's Embassy Club, sporting ruffle-sleeved "rumba shirts", and led Edmundo Ros's Rumba Band in the New Cosmo and other clubs. A 1939 Melody Maker headline declared, with the popular new dance in mind, "He came… he saw… he conga'd!" Ros's first recording, Los Hijos de Buda (Sons of Buddha, 1941) was authentic Cuban rumba.

    During the second world war, Ros briefly drove ambulances before launching his own 16-piece dance orchestra to play at the Coconut Grove Club at 177 Regent Street. He alternated between that and the Bagatelle Club off Picadilly, where members included Winston Churchill and Charles de Gaulle, and the heads of Europe's allied forces. Most significant to Ros, Princess Elizabeth danced there with her friend Captain Wills.

    Ros's popularity escalated in postwar Britain through live radio concerts, produced by Cecil Madden. In 1948, he supported Carmen Miranda for a year at the London Palladium, while still playing the Coconut Grove, and the following year The Wedding Samba sold 3m copies in Britain and entered the US charts.

    Its success coincided with a highly publicised high court adultery case involving him and a Dutch army officer, both known to an upper-class English couple. Instead of protesting his innocence, Ros remained silent during the trial, but was still fined £1000 for having befriended the lady in question, whereas the truly guilty party was fined £300. Ros understood the racial implications but saw it as his big break, since in discussing the case, Queen Elizabeth, the later Queen Mother, apparently described him as "a gentleman". In 1950, her husband, King George VI, invited him to perform at Windsor, and he took his fiancee, the beautiful Swedish aristocrat Britt Johansen, whom he married that year. 

    Ros was famously cagey about the royals, but he did once reveal to me, in a stage whisper, that he later lent his office at the Coconut Grove to Princess Margaret and Captain Peter Townsend "for private drinks". By then, his clothes were from Jermyn Street and he performed only to the upper classes. But his hit records – including Melodie d'Amour, Tico Tico, Her Bathing Suit Never Got Wet and The Cuban Love Song – and radio shows, still produced Madden, broke all social boundaries.

    Latin music was by then a significant part of postwar Britain's dance scene, but fellow bandleader Victor Silvester suggested to Ros that he needed to adapt his music to get people dancing to it. By hooking a Latinised military beat to a familiar song, he produced an experimental version of Colonel Bogie in the style of the dance known as the merengue and proved the point: "It fitted beautifully," Ros recalled. That became "The Ros Sound" - flattened rhythms, catchy melodies and sophisticated arrangements, all fronted by his risque word-plays and tongue-twisting rhymes, carried on a soft Caribbean lilt.

    In 1951, Ros bought the Coconut Grove's expiring lease and reopened as Edmundo Ros's Supper and Dance Club. It became the playground for an exclusive international membership of kings and admirals, Hollywood stars and British aristocrats. Its door policy was legendary, with both Peter O'Toole and King Hussein of Jordan refused admission for over-casual dress. Ros's holding company incorporated a talent agency, dance school and photo-lab for printing guests' portraits. On the radio, his hit records were a constant presence on programmes like Housewives' Choice and Two-way Family Favourites.

    In 1953, Decca hired a young Belgian producer, Marcel Stellman, to work with the UK's leading Latin band leaders, Ros and Stanley Black. Stellman said, "The key to [Ros's] popularity was his engaging rhythm section. Within 12 bars of his music, people knew who it was, and they loved his rhythmic voice." He was not interested in an "authentic" Latin sound, though their first album, Rhythms of the South (1958) sold a million copies. Instead, he introduced pot-boilers like I'm Just Wild About Harry, set to mambos and sambas, and went on to strike gold in the 1960s with Ros at the Opera, Hair Goes Latin and even Japanese military tunes set to Latin beats.

    Ros's popularity now extended internationally, and included a television collaboration in New York with his American counterpart Xavier Cugat, in the series Broadway Goes Latin. On British TV, Ros performed on faux-Spanish sets for The Billy Cotton Band Show, Saturday Night at the London Palladium and the Royal Variety Shows, and in 1965 was hired by Madden for A Night of 1000 Stars, the opening party for the BBC TV Centre, where he backed Vera Lynn and the Beverley Sisters. Bill Cotton Jr, later director of BBC Light Entertainment, described Ros's band as "very sophisticated; he was Latin American music".

    A native of Port of Spain, Edmund William Ross had a complex family background. His mother, Luisa Urquart, was a teacher, apparently descended from indigenous Caribs, and his father, William Hope-Ross, the illegitimate son of a Scottish-Canadian plantation owner, brought to Trinidad by an employee called Hope-Ross. A ship's electrician, William took Luisa, and then their first two children, Edmund and Ruby, on boats around the Caribbean until they reached school age. At Tranquillity school, Port of Spain, their teachers instilled in them Victorian, Christian values brought from Britain.

    Edmundo's father left the family and he became "a bit of a delinquent", ending up in the local police boot camp. In turned out to be a stroke of luck, since it introduced him to music through playing the euphonium and percussion. When his mother became involved with a man he loathed and had a son by him, the 17-year old left for Caracas, Venezuela to study at the Academy of Music under Maestro Vicente Emilio Sojo.

    He played drums in the city's nightclubs, and was soon hired by Sojo as timpanist in the new Venezuela Symphony Orchestra. His local name, "Edmundo Ros", launched a lasting myth that he was Venezuelan. Impressed by Sojo, Ros applied to the RAM in London to study conducting and composition.

    By the 1960s, Ros had become hugely wealthy, and lived with Britt and their children, Douglas and Luisa, in a modernist house in Mill Hill, north London. His car collection included a Rolls-Royce with the registration EWR1. With their children at boarding schools, Britt continued as his companion at his club.

    However, as the decade went on, pop began to gnaw at Latin music. When his club lease expired, he closed down and turned to lucrative international tours. Then, in 1965, "Britt danced out of my life," leaving him for a Colombian friend of theirs whom she had met at the club. He sold the family home and bought a luxury apartment in St John's Wood, next to Victor Silvester. Silvester's grand-daughter Tara recalls "Uncle Edmundo" as "very good fun, very stern, very posh; he would do anything to stop you thinking he was black". 

    In 1971, Ros married Susan, three decades his junior, after they had met on a train. Four years later, he abruptly "closed the shop" following what he saw as mutinous behaviour by some recently unionised musicians during a tour of Japan. He sent his orchestra's sheet music archive to be shredded at the Bank of England, and during a formal dinner for the musicians and their wives announced, "It's all over." 

    Predictably, Ros's musical career did not end there. His last concert, in 1994, was a two-headed Latin extravaganza with Stanley Black, at the Queen Elizabeth Hall in London, followed by a This Is Your Life programme on television. In 2000, the composer Michael Nyman produced a BBC TV documentary about him entitled I Sold My Cadillac to Diana Dors, and described him as: "One of the few black men to have attained national recognition; he hadn't gone for 'the gorblimeys', he wanted to be a gentleman, the greatest satisfaction you can earn in England."

    Ros was appointed OBE in 2000, and his 1940s hit Va Va Voom reappeared in a cinema advertisement for a Triumph bra – a wry tribute to the man who, said Nyman, "single-handedly introduced Latin American music to English audiences". He is survived by Susan and his children.

    Edmundo Ros (Edmund William Ross), bandleader, born December 7 1910; died 21 October 2011.

    (by Sue Steward from theguardian.co.uk)


sábado, 22 de outubro de 2011

Paul Mauriat - Chromatic

  1. Romantic Laser
  2. Ballade Orange
  3. Piccolo Paradise
  4. Blue Sticks For A Rainbow
  5. Elie Upa
  6. Crocodile Tears
  7. Pop Horn
  8. Back Again
  9. Sica Sica
  10. She's Like A Song
  11. Chromatic Dream
Chromatic

quarta-feira, 19 de outubro de 2011

O Melhor do Bang Bang à italiana - Vários Artistas

  1. One Silver Dollar - Maurice Renet & His Orchestra
  2. The Good, The Bad And The Ugly - Hugo Montenegro & His Orchestra
  3. Per Qualche Dollaro In Piu' - Ennio Morricone & His Orchestra
  4. I Giorni Dell'Ira - Riz Ortolani & His Orchestra
  5. All' Ombra Di Una Colt - Willy Brezza & His Orchestra
  6. Theme From "A Few Dollars More" - Maurice Renet & His Orchestra
  7. Johnny Guitar - Nico Fidenco
  8. Titoli - Ennio Morricone His Orchestra And Chorus
  9. Hang' Em High - Hugo Montenegro His Orchestra And Chorus
  10. C'Era Una Volta Il West - Ennio Morricone I Cantori Moderni Di Alessandroni
  11. Django - Maurice Renet & His Orchestra
  12. Trinity - Annibale and Gianfranco Plenizio
Bang Bang À Italiana

segunda-feira, 17 de outubro de 2011

Richard Clayderman - Sucessos da MPB 2

  1. Oceano
  2. Eu Sei que Vou Te Amar
  3. Começar de Novo
  4. Romaria
  5. Matriz ou Filial
  6. Meu Bem Querer
  7. Se Todos Fossem Iguais a Você
  8. Começaria Tudo Outra Vez
  9. Carolina
  10. Casa no Campo
  11. Vitoriosa
  12. Aquarela
  13. Garota de Ipanema
Sucessos da MPB 2

quarta-feira, 12 de outubro de 2011

Victor Silvester - Dance, Dance, Dance

  1. Too Close For Comfort
  2. The Lady's In Love With You
  3. Call Me Irresponsible
  4. You're My Everything
  5. Amore Baciami
  6. I Give My Heart
  7. Belle Of The Ball
  8. Gotta Be This Or That
  9. Old Devil Moon
  10. My Foolish Heart
  11. It Can't Be Wrong
  12. Broadway Melody
  13. A Foggy Day
  14. The Boy Next Door
  15. Around The World
  16. At The Balalaika
  17. Hernando's Hideaway
  18. At The Jazz Band Ball
  19. Dearly Beloved
  20. Cerveza
  21. One
  22. Pennies From Heaven
  23. Feelings
  24. Al Di La
  25. Copacabana
  26. La Cumparsita
  27. I'll Go Where Your Music Takes Me
  28. You Were Never Lovelier
Dance, Dance, Dance - Part 1
Dance, Dance, Dance - Part 2


"The basic essentials of true dance music are melody, simplicity, and consistent rhythm. Join these three entities together and you have music that is nice to dance to and pleasing to listen to," observed Victor Silvester -- he did precisely that and sold 75 million records over a recording career lasting 50 years. Today he is but a fading memory on a musical landscape that he scarcely would have recognized, but for 50 years, from the '30s through the early '80s, Victor Silvester was England's top dance-band leader -- and from the '30s through the '60s, that designation meant musical stardom. The second son of a vicar in North London, Silvester played the piano as a boy and studied music at Trinity College of music and the London College of Music. For reasons best known to himself, he interrupted his musical studies to enlist in the army in 1915, when he was just 15 years old, and was sent to the front, where he saw action -- including service on a firing squad executing deserters. Discharged when his true age was discovered, he waited until he was 17 and re-enlisted legally to return to combat. After World War I, he considered a permanent career in the army, but his interests turned instead to dancing. He won the World Dancing Championship in 1922, in partnership with Phyllis Clarke, and later opened his dancing academy in London, which eventually became a chain of dance studios. By the early '30s, he was the most renowned dance teacher in England, with a clientele that included the top celebrities of the day, and a reputation that quickly spread throughout the British Empire and the rest of Europe, and as far away as Japan. It was the lack of what he felt were proper dance records that drove Silvester into a recording career. Forming his own orchestra, he recorded "You're Dancing on My Heart" (written by Al Bryan and George M. Meyer) in 1935, which became his signature tune. It was the beginning of a career that would last a half-century and vault the era of swing, trad jazz, skiffle, rock & roll, British beat, psychedelia, disco, and power pop. By the end of the '30s, he was not only selling huge numbers of records in England, but also in Australia, continental Europe, South Africa, and India.

By 1937, Silvester had his own dance music program on the BBC, for which he eventually made 6,500 broadcasts -- he was among the first music artists to appear on television as well, on the BBC's pre-World War II experimental television broadcasts. During the late '30s, he also wrote a book, Modern Ballroom Dancing, which ultimately went to 50 printings and sales of over a million copies, and translations into German and Japanese, among a dozen other languages. For most of his career, Silvester specialized in strict-tempo ballroom dancing. During World War II, however, he recognized that he had a special audience among his listeners, in the form of burgeoning numbers of American servicemen stationed in England. He began aiming his program and his records specifically at them, releasing a large body of swing-oriented dance recordings.

After the war, he returned to the traditional ballroom dance music that he preferred. Silvester wrote some 90 dance tunes in collaboration with his pianist, Ernest Wilson, but was well-known for his interpretations of the work of Richard Rodgers and Lorenz Hart, and had a marked preference for the musical standards of the 1930s, which he kept recording well into the 1970s and beyond. Apart from his one concession to swing music in the early '40s, as a sort of wartime sacrifice, he was oblivious to most of the changes in music that took place around him as the decades wore on, never even acknowledging rock & roll; such was the musical environment of the times, that he was one of EMI's prized artistic possessions during the 1950s. Silvester was awarded the Order of the British Empire, a royal honor, in 1961, and continued making records for another 15 years, finally embracing '60s and '70s melodies on albums such as Up Up and Away. He recorded so many hundreds of albums, that they became impossible even for the bandleader to keep track of, and EMI later issued his work on CD in the 1980s and 1990s, most recently Victor Silvester and His Silver Strings. As Silvester grew older, his son Victor Silvester Jr. frequently deputized for him leading the orchestra, and upon the older Silvester's death during a vacation in France in 1978, his son took over the orchestra. 

(by Bruce Eder from allmusic.com)

terça-feira, 11 de outubro de 2011

Nelson Riddle - The Today Sound of Nelson Riddle

  1. Light My Fire
  2. Dream A Little Dream Of Me
  3. Yesterday's Dreams
  4. Halfway To Paradise
  5. How Are Things In Glocca Morra
  6. Gentle On My Mind
  7. Where Do I Go
  8. Stoned Soul Picnic
  9. Don't Rain On My Parade
  10. Sealed With A Kiss
  11. Alouette
  12. Tell Someone You Love Them
Today Sound

sexta-feira, 7 de outubro de 2011

Paul Mauriat - A Grande Orquestra de Paul Mauriat - Vol. 12

  1. Mamy Blue
  2. Chirpy Chirpy Cheep Cheep
  3. We Shall Dance
  4. Oh! Ma Jolie Sarah
  5. La Bikina
  6. Smic Smac Smoc
  7. Pour Un Flirt
  8. Here's To You
  9. Je T'Aime, Je T'Aime
  10. Les Rois Mages
  11. Mon Vieux Paris
  12. The Fool
Paul Mauriat - Vol. 12

quarta-feira, 5 de outubro de 2011

Richard Clayderman - Sucessos da MPB 1

  1. Café da Manhã
  2. No Rancho Fundo
  3. Detalhes
  4. Carinhoso
  5. Como uma Onda
  6. Outra Vez
  7. A Noite do Meu Bem
  8. Um Dia de Domingo
  9. Viola Enluarada
  10. Como vai Você
  11. Universo no Teu Corpo
  12. Disparada
Sucessos da MPB 1


With his lush and sophisticated instrumental approach to pop music, Richard Clayderman (born Philippe Pagès) is, according to The Guinness Book of World Records, "the most successful pianist in the world." Clayderman's albums routinely sell millions of copies and his concerts are quickly sold out. In a review of his 1985 Carnegie Hall concert, Variety wrote, "(Clayderman's) main appeal lies in his youth and boyish good looks...coupled with his gentlemanly charm and his thick French accent, they promise to rope in the romantically inclined middle-aged Yank ladies who cotton to this ilk of soothing entertainment." Nancy Reagan referred to Clayderman as "the prince of romance." Instructed in classical piano by his father, Clayderman enrolled in the Paris Conservatory of Music at the age of 12. Four years later, he placed first in a piano competition at the school. Despite his classical background, Clayderman opted for popular music when he launched his professional career. A tour as opening act for French rock musician Johnny Hallyday introduced him to an international following. Clayderman's debut album, Ballade Pour Adeline, recorded at the urging of producers and composers Oliver Toussaint and Paul de Senneville in 1977, sold more than 20 million copies and was distributed in 38 countries. Clayderman, who took his stage name from his Swedish grandmother, has continued to tour throughout the world to enthusiastic audiences. A live concert broadcast on Chinese television in 1987 attracted more than 800 million viewers. 

(by Craig Harris from allmusic.com)

segunda-feira, 3 de outubro de 2011

Al Caiola - Percussion And Guitars

  1. Gone With The Wind
  2. Jazz Pizzicato
  3. Just In Time
  4. Holiday For Strings
  5. The Sound Of Music
  6. Charleston
  7. Then I'll Be Tired Of You
  8. Cherokee
  9. Baubles Bangles And Beads
  10. Something's Coming
  11. 'S Wonderful
  12. Early Autumn
Percussion And Guitars

Stan Getz - The Jazz Masters - 100 anos de Swing

  1. Autumn Leaves
  2. Billie's Bounce
  3. Lady Day
  4. Heart Place
  5. Kali-au
  6. Chappaqua
Personell:
Stan Getz, tenor saxophone
Andy Leverne, piano
Brian Bromberg, bass
Chuck Loeb, guitar
Victor Jones, drums

Folio EF 20005


One of the all-time great tenor saxophonists, Stan Getz was known as "The Sound" because he had one of the most beautiful tones ever heard. Getz, whose main early influence was Lester Young, grew to be a major influence himself and to his credit he never stopped evolving.

Getz had the opportunity to play in a variety of major swing big bands while a teenager due to the World War II draft. He was with Jack Teagarden (1943) when he was just 16, followed by stints with Stan Kenton (1944-1945), Jimmy Dorsey (1945), and Benny Goodman (1945-1946); he soloed on a few records with Goodman. Getz, who had his recording debut as a leader in July 1946 with four titles, became famous during his period with Woody Herman's Second Herd (1947-1949), soloing (along with Zoot Sims, Herbie Steward, and Serge Chaloff) on the original version of "Four Brothers" and having his sound well-featured on the ballad "Early Autumn." After leaving Herman, Getz was (with the exception of some tours with Jazz at the Philharmonic) a leader for the rest of his life.

During the early '50s, Getz broke away from the Lester Young style to form his own musical identity and he was soon among the most popular of all jazzmen. He discovered Horace Silver in 1950 and used him in his quartet for several months. After touring Sweden in 1951, he formed an exciting quintet that co-featured guitarist Jimmy Raney; their interplay on uptempo tunes and tonal blend on ballads were quite memorable. Getz's playing helped Johnny Smith have a hit in "Moonlight in Vermont"; during 1953-1954, Bob Brookmeyer made his group a quintet and, despite some drug problems during the decade, Getz was a constant poll winner. After spending 1958-1960 in Europe, the tenorman returned to the U.S. and recorded his personal favorite album, Focus, with arranger Eddie Sauter's Orchestra. Then, in February 1962, Getz helped usher in the bossa nova era by recording Jazz Samba with Charlie Byrd; their rendition of "Desafinado" was a big hit. During the next year, Getz made bossa nova-flavored albums with Gary McFarland's big band, Luiz Bonfá, and Laurindo Almeida, but it was Getz/Gilberto (a collaboration with Antonio Carlos Jobim and João Gilberto) that was his biggest seller, thanks in large part to "The Girl from Ipanema" (featuring the vocals of Astrud and João Gilberto).

Getz could have spent the next decade sticking to bossa nova, but instead he de-emphasized the music and chose to play more challenging jazz. His regular group during this era was a piano-less quartet with vibraphonist Gary Burton, he recorded with Bill Evans (1964), played throughout the 1965 Eddie Sauter soundtrack for Mickey One, and made the classic album Sweet Rain (1967) with Chick Corea. Although not all of Getz's recordings from the 1966-1980 period are essential, he proved that he was not afraid to take chances. Dynasty with organist Eddie Louiss (1971), Captain Marvel with Chick Corea (1972), and The Peacocks with Jimmy Rowles (1975) are high points. After utilizing pianist Joanne Brackeen in his 1977 quartet, Getz explored some aspects of fusion with his next unit which featured keyboardist Andy Laverne. Getz even used an Echoplex on a couple of songs but, despite some misfires, most of his dates with this unit are worthwhile. However, purists were relieved when he signed with Concord in 1981 and started using a purely acoustic backup trio on most dates. Getz's sidemen in later years included pianists Lou Levy, Mitchell Forman, Jim McNeely, and Kenny Barron. His final recording, 1991's People Time, (despite some shortness in the tenor's breath) is a brilliant duet set with Barron.

Throughout his career Getz recorded as a leader for Savoy, Spotlite, Prestige, Roost, Verve, MGM, Victor, Columbia, SteepleChase, Concord, Sonet, Black Hawk, A&M, and EmArcy among other labels (not to mention sessions with Lionel Hampton, Dizzy Gillespie, and Gerry Mulligan) and there are dozens of worthy records by the tenor currently available on CD. 

(by Scott Yanow from allmusic.com)

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