quinta-feira, 29 de novembro de 2012

Felix Slatkin - Great Movie Themes (Temas dos Grandes Filmes)

  1. Sanson & Dalilah - Dalilah's Theme
  2. El Cid - Love Theme
  3. A Man Called Peter - Forever Yours
  4. San Francisco of Assis - Main Theme
  5. The Prodigal - Main Theme
  6. King of Kings - Main Theme
  7. The Ten Commandments - Nepheridi Theme
  8. Bernadette's Song - Main Theme
  9. Ben-Hur - Love Theme
  10. David and Bathsheba - Love Scene
  11. uo Vadis - Love Theme
  12. The Robe - Love Theme
Great Movie Themes

quarta-feira, 28 de novembro de 2012

Ray Ellis and His Orchestra - The Best of Peter Gunn

  1. Peter Gunn
  2. Walkin' Bass
  3. A Profound Gass
  4. Goofin' At The Coffee House
  5. The Floater
  6. Dreamsville
  7. Fallout
  8. The Brothers Go To Mothers
  9. Joanna
  10. Not From Dixie
  11. Sorta Blue (s)
  12. Soft Sounds
The Best of Peter Gunn

segunda-feira, 26 de novembro de 2012

Mantovani - Presents His Concert Successes

  1. Intro: Charmaine
  2. Die Fledermaus Overture (Strauss, arr. by Mantovani)
  3. Moon River
  4. Hora Staccato (Dinicu)
  5. Aquarius
  6. Autumn Leaves
  7. Gypsy Carnival
  8. Seventy-Six Trombones
  9. Greensleeves
  10. Capriccio Italien Op. 45 (Tchaikovsky, arr. by Milner)
  11. Theme from "The Virginian" (Percy Faith)
  12. Fantasy on Italian Melodies: Tarantella / O Sole Mio / A Frangesa / Santa Lucia / Mari, Mari / Funiculi, Funicula
  13. Charmaine
His Concert Successes

Conductor, composer, violinist, and pianist Mantovani was one of the most popular and prolific easy listening artists of all time. His trademark "cascading strings" (or "tumbling strings") effect gave him an instantly recognizable sound, and his heavy reliance on the string section in general helped map out the blueprint for much of the light orchestral music that followed in his wake. His repertoire did feature original compositions, but was built chiefly on lush adaptations of familiar melodies: TV and movie themes, show tunes, pop hits (chiefly of the MOR variety), classical material, and the like. Starting his career in the '20s, Mantovani was very much a product of the recording age: he focused almost entirely on recording, instead of live performance; he was one of the first artists to utilize the LP as a primary medium for his releases (as opposed to singles); he was one of the first popular artists to use stereo recording technology, and likely the first to sell over a million records in the stereo format. Fascinated by the studio recording process, he experimented restlessly with miking methods and other technical nuances over the course of an astoundingly large discography -- more than 50 albums from the early '50s until his death in 1980 (not counting his numerous 78 rpm records, dating back to the late '20s). 

Annunzio Paolo Mantovani was born November 15, 1905, in Venice, Italy. His father was an accomplished violinist who performed at the legendary Milan opera house La Scala under the direction of Arturo Toscanini. Mantovani himself began piano and music theory lessons at a young age. In 1912, the family moved to England, where Mantovani's father took over direction of the Covent Garden Orchestra. At age 14, Mantovani switched from piano to violin; although the latter became his instrument of choice, he would keep up his piano work for the sake of composing. Just two years later, he made his professional debut with a performance of Anton Bruch's "Violin Concerto No. 1." He joined a touring orchestra and quickly became a featured soloist; by age 20, he was leading the resident Hotel Metropole Orchestra, and made a few recordings with the group in 1928. He gave high-profile recitals in 1930 and 1931, performing Saint-Saëns' "Violin Concerto in B Minor" at the latter, and began to make a name for himself. Around the same time, he formed a new group, the Tipica Orchestra, and started a series of regular radio broadcasts from London's high-profile Monseigneur restaurant.

Mantovani and the Tipica Orchestra made highly successful appearances all over England, and recorded for Sterno, Regal Zonophone, and Columbia from 1932-1936; two of those records, "Red Sails in the Sunset" and "Serenade to the Night," were hits in the U.S. in 1935 and 1936, respectively. Columbia changed the billing on his records to Mantovani & His Orchestra in 1937, and in 1940 he moved over to Decca. By World War II, he was one of the most popular orchestra leaders in England, and in the '40s he also branched out into theater, serving as musical director for a number of productions including several by Noel Coward. Once World War II ended, Mantovani threw his energy into recording, and gradually moved away from live performances altogether. He experimented with different styles over a series of popular 78s for Decca, and hit upon his signature sound when he connected with arranger Ronald Binge, who'd once played accordion in the Tipica Orchestra. Binge was likely the man who devised Mantovani's dramatic "cascading strings" effect, which the two first employed on the 1951 single "Charmaine," a song originally written 25 years earlier. "Charmaine" was a major hit, selling over a million copies and definitively cracking open the U.S. market for Mantovani's music.

A steady stream of hit singles followed in the early '50s, including "Wyoming" (1951), "Greensleeves" (1952), the U.K. number one "Song From Moulin Rouge" (1953), "Swedish Rhapsody" (1953), "The Lonely Ballerina" (1954), "Toy Shop Ballet" (1956; it helped him win the U.K.'s Ivor Novello Award), and "Around the World" (1957). Additionally, Mantovani arranged, co-wrote, and backed David Whitfield on his U.K. chart-topper (and U.S. Top Ten) "Cara Mia" in 1954. Starting in 1953, he recorded what proved to be a deluge of LPs for Decca and its London subsidiary. The advent of rock & roll stunted his success on the singles charts, but his albums sold like hotcakes in America. From 1955 to 1972, well over 40 Mantovani albums reached the U.S. pop charts; 27 of those reached the Top 40, and 11 made the Top Ten. His biggest sellers included Christmas Carols (1953; it re-entered the charts several times), Strauss Waltzes (1953), Song Hits From Theatreland (1955), Film Encores (1957; his lone number one album), Gems Forever (1958), Mantovani Stereo Showcase (1960), Italia Mia (1961), and the smash Mantovani Plays Music From "Exodus" and Other Great Themes (1961), a number two hit that sold over a million copies and stayed on the charts for nearly a year. His version of the "Exodus" theme was just one of several successful recordings (others were by Ferrante & Teicher and jazzman Eddie Harris).

As the '60s wore on, Mantovani's brand of pleasant, light orchestral music increasingly diverged from mainstream tastes in pop, and his chart placings slipped lower and lower (his last entry was 1972's Annunzio Paolo Mantovani). Still, he stayed true to his own aesthetic, only adopting those contemporary trends that he could translate on his own terms. His recording activities were curtailed after the Decca label was dissolved and absorbed into MCA in 1973, though he continued to compose for several years afterward. He passed away on March 30, 1980, in his country home in Tunbridge Wells, England.  

(By Steve Huey from allmusic.com)

quinta-feira, 22 de novembro de 2012

Henry Mancini - A Warm Shade of Ivory - His Piano, Orchestra and Chorus

  1. In The Wee Small Hours of the Morning
  2. Cycles
  3. Moment to Moment
  4. A Day in the Life of A Fool
  5. Watch What Happens
  6. By the Time I Get to Phoenix
  7. Love Theme from Romeo and Juliet
  8. The Windmills of Your Mind
  9. When I Look in Your Eyes
  10. Meditation
  11. Dream A Little Dream of Me
A Warm Shade of Ivory

A Warm Shade of Ivory is an interesting departure for composer/arranger Henry Mancini. The album focuses on his skill as a piano soloist, although he fills some of his usual roles as well, since he also wrote the arrangements. He had a hand in composing only one melody, "Moment to Moment," and instead concerned himself with interpreting other composers' melodies. His lush orchestrations are reminiscent of Mantovani, as piano notes sparkle on the surface of immense waves of strings. The album's concept may have been a novel one for Mancini, but the music is not fundamentally different from his typical fare, and encompasses his usual assortment of traditional and adult pop melodies and film themes. Mancini's rendition of "Love Theme From Romeo & Juliet" was a Number One pop hit -- a rare achievement for an orchestral instrumental at the time -- and topped the easy listening chart for two months! The album itself reached the Top Five and was certified gold. A Warm Shade of Ivory is a lovely, contemplative collection that combines Mancini's skills in new and unequivocally successful ways.  

(By Greg Adams from allmusic.com)

segunda-feira, 19 de novembro de 2012

Bobby Hackett - Plays Tony Bennett's Greatest Hits

  1. Smile
  2. Put On A Happy Face
  3. I Left My Heart In San Francisco
  4. The Good LIfe
  5. Rags To Riches
  6. Just In Time
  7. Stranger In Paradise
  8. I Wanna Be Around
  9. The Shadow Of Your Smile
  10. Because Of You
Tony Bennett's Greatest Hits

Throughout his career, Hackett was in demand for a wide variety of studio dates due to his highly appealing tone on cornet. He was utilized by Jackie Gleason for a series of commercially successful mood music albums and spent a period touring with Tony Bennett. In tribute to Bennett, Hackett recorded ten songs associated with the singer. Unfortunately, all of these renditions clock in at three minutes or less, making for a 28-minute LP, and none of the performances wander far from the melodies, which include such dubious material as "Put On a Happy Face," "Stranger In Paradise" and of course "I Left My Heart In San Francisco." Pass this one by. 

(By Scott Yanow from allmusic.com)


domingo, 18 de novembro de 2012

Eddie Calvert - Lonely Night - with Norrie Paramor, His Strings and Orchestra

  1. Easy To Love
  2. What Is This Thing Called Love
  3. Can't Help Lovin' Dat Man
  4. Taking A Chance On Love
  5. Falling In Love With Love
  6. Love In Bloom
  7. The Man I Love
  8. Why Do I Love You
  9. One Night Of Love
  10. A Little Love, A Little Kiss
  11. Love Is The Sweetest Thing
  12. Love Me Or Leave Me
Lonely Night

Albert Edward "Eddie" Calvert (15 March 1922 – 7 August 1978) was an English trumpeter, who enjoyed his greatest successes in the 1950s. Calvert had his first United Kingdom, number one instrumental single in 1954, with "Oh Mein Papa".

Calvert was born in Preston, Lancashire, England, and grew up in a family where the music of his local brass band featured highly. He was soon able to play a variety of instruments, and he was most accomplished on the trumpet. After World War II he graduated from playing as an amateur in brass bands to professional engagements with popular dance orchestras of the day, including Geraldo's plus Billy Ternet, and he soon became renowned for the virtuosity of his performances. Following his exposure on television with the Stanley Black Orchestra, an enthusiastic announcer introduced him as the 'Man With The Golden Trumpet' - an apt description that remained with him for the rest of his musical career.

Calvert's style was unusually individualistic, and he became a familiar musician on BBC Radio and TV during the 1950s. He first recorded for Melodisc, ca 1949-1951 before he started to record for the Columbia label and his records included two UK number ones, "Oh Mein Papa" and, more than a year later, "Cherry Pink and Apple Blossom White". He was the first British instrumentalist to achieve two number ones. "Oh Mein Papa" which also sold well in the United States, topped the UK Singles Chart for nine weeks (then a UK chart record), and he received the first gold disc awarded for a UK instrumental track.

Further chart entries were "John And Julie", taken from the soundtrack of the movie John and Juliet, and "Mandy", his last major hit. Other recordings included "Stranger In Paradise" (1955), "The Man with the Golden Arm" (1956) and "Jealousy" (1960). Calvert also co-wrote "My Son, My Son" in 1954 - a chart-topper for Vera Lynn. His theme to the film, The Man with the Golden Arm was banned by the BBC. Despite the fact that that this was an instrumental disc, a BBC spokesman said "The ban is due to its connection with a film about drugs".

In 1960 he was invited by orchestra leader, Norrie Paramor and their mutual friends Ruby Murray and Michael Holliday to record an extended-play single with four tracks. Calvert played Silent Night and on another track he, Murray and Holliday teamed up in a version of Good Luck, Good Health, God Bless You. The single, released by Columbia Records achieved some success in Britain but was more popular in Australia and South Africa.

As music began to change in the 1960s with the worldwide popularity of groups like The Beatles and the rock n' roll genre, Calvert's musical renditions became less popular among record buyers. By 1968 Calvert had become disillusioned with life under the Labour government of Harold Wilson and was especially critical of London's policy towards Rhodesia. After a world tour that included several stops in Africa, he left the UK, making South Africa his home. He continued to perform there, and was a regular visitor to Rhodesia. He continued to record for the local market and performed a version of "Amazing Grace", retitled "Amazing Race" specially adapted for Rhodesia.

On the 7 August 1978, Calvert collapsed and died of a heart attack in the bathroom of his home in Rivonia, Johannesburg. He was fifty-six years old.

(From Wikipedia, the free encyclopedia)

Al Hirt & Andy Williams - I Can't Get Started (1966)

sexta-feira, 16 de novembro de 2012

Living Strings - The Shimmering Sounds of Living Strings - Arranged and conducted by Hill Bowen

  1. Paradise
  2. Long Before I Knew You
  3. Ramona
  4. Alone
  5. In The Valley Of The Moon
  6. Charmaine
  7. I'll Always Be In Love With You
  8. Where There's Love
  9. Diane
  10. Love's Old Sweet Song
The Shimmering Sounds

quarta-feira, 14 de novembro de 2012

Duke Ellington - Plays Mary Poppins

  1. A Spoonful Of Sugar
  2. Chim Chim Cheree
  3. Feed The Birds
  4. Let's Go Fly A Kite
  5. Stay Awake
  6. I Love To Laugh
  7. Jolly Holiday
  8. Sister Suffragette
  9. The Perfect Nanny
  10. Step In Time
  11. The Life I Lead
  12. Supercalifragilisticexpialidocious
Mary Poppins

This disc is a surprising success. Duke Ellington was somehow persuaded into revising and recording a dozen songs from the score of Walt Disney's Mary Poppins, and the results are actually quite memorable. With such soloists as altoist Johnny Hodges, baritonist Harry Carney, trumpeter Cootie Williams, tenor saxophonist Paul Gonsalves, clarinetist Jimmy Hamilton, and trombonist Lawrence Brown getting their spots, Duke Ellington & His Orchestra turn such songs as "A Spoonful of Sugar," "Chim Chim Cheree" (a much happier version than John Coltrane's), "The Life I Lead," and even "Supercalifragilisticexpialidocious" into swinging jazz.  

(By Scott Yanow from allmusic.com)

terça-feira, 13 de novembro de 2012

Eddie Calvert - Tulips from Amsterdam

  1. Cherry Pink And Apple
  2. If You Wanna See Me Again
  3. Loneliness
  4. Mistral
  5. My Love
  6. Nostalgia
  7. Oh, Mein Papa
  8. Plesse Love
  9. Rock Me On A Rainbow
  10. Sauselito
  11. Tulips From Amsterdam
  12. Zambesi
Tulips from Amsterdam

segunda-feira, 12 de novembro de 2012

Orquestra Tabajara - Canta Brasil - Conduzida por Severino Araújo

Paquito D'Rivera with Strings - 100 Years of Latin Love Songs - Conducted by Bob Belden

  1. La Morocha
  2. Ay Ay Ay
  3. Tu Maripo
  4. Vereda Tropical
  5. Acercate Mas
  6. Amor Sin Esperanza
  7. Corcovado
  8. Sin Tu Carino
  9. Amor Sin Medida
  10. Corazon Partio
Latin Love Songs

For this album, Paquito D'Rivera performs one number from each of the ten decades of the 20th century. The songs originated from Argentina, Chile, Colombia, Mexico, Cuba, the Dominican Republic, Brazil, Puerto Rico, and Venezuela. Even if "La Morocha" is from 1905, all of the music sounds quite modern. Bob Belden arranged the pieces for a 13-piece sting section, a rhythm section with pianist Dario Eskenazi, three acoustic guitarists, and Roberto Perera on Paraguayan harp. In addition to his alto and clarinet, D'Rivera plays soprano on five pieces. The highly enjoyable set is additionally valuable, for it features a variety of rare but superior material full of rich melodies. 

(By Scott Yanow from allmusic.com)

sexta-feira, 9 de novembro de 2012

Blue Mitchell - Plays for Lovers

  1. The Nearness of You
  2. When I Fall in Love
  3. Why Do I Love You
  4. Polka Dots and Moonbeans
  5. But Beautiful
  6. I Can't Get Started with You
  7. There Will Never Be Another You
  8. How Deep Is the Ocean
  9. I'm A Fool To Want You
  10. Turquoise
  11. Missing You
  12. For All We Know
  13. Peace
Plays for Lovers

In the '60s, Prestige launched its Plays for Lovers series with LPs by Miles Davis, John Coltrane, and others. The concept was jazz as romantic mood music -- collections of previously released material that are dominated by ballads and emphasize a player's more lyrical side. Fantasy has long since acquired the Prestige catalog, and in the 2000s, it helped keep the Plays for Lovers concept alive -- not only with Prestige recordings, but also with recordings from the Fantasy-owned catalogs of Riverside, Contemporary, and other labels. The Blue Mitchell Plays for Lovers collection, in fact, doesn't contain a single Prestige recording; all of the material originally came out on Riverside. In 2003, the late Mitchell was an obvious choice for a Plays for Lovers release because the Clifford Brown-influenced trumpeter was, quite simply, a superb ballad player. He had no problem swinging aggressively at a fast tempo, but he was equally skillful when it came to ballads -- a fact that is obvious on Blue Mitchell Plays for Lovers, which spans 1958-1962 and finds him playing quite soulfully on "I Can't Get Started," "Polka Dots and Moonbeams," and other famous Tin Pan Alley standards. Not everything on the 61-minute album is a ballad; Cedar Walton's "Turquoise" is a moody, dusky post-bop offering that is played at a medium tempo. The tune's appealing melody bears a slight resemblance to the standard "You Don't Know What Love Is," and even though "Turquoise" is faster than any of the other selections, it doesn't really disrupt the overall mood and ambiance -- it's a momentary diversion but not an outright disruption. Besides, the Plays for Lovers series was meant to be ballad-heavy but not ballad-exclusive; being dominated by ballads isn't the same as excluding medium-tempo material altogether. And when all is said and done, Blue Mitchell Plays for Lovers lives up its title. 

(By Alex Henderson from allmusic.com)

Owner of a direct, lightly swinging, somewhat plain-wrapped tone that fit right in with the Blue Note label's hard bop ethos of the 1960s, Blue Mitchell tends to be overlooked today perhaps because he never really stood out vividly from the crowd, despite his undeniable talent. After learning the trumpet in high school -- where he got his nickname -- he started touring in the early '50s with the R&B bands of Paul Williams, Earl Bostic, and Chuck Willis before returning to Miami and jazz. There, he attracted the attention of Cannonball Adderley, with whom he recorded for Riverside in 1958. That year, he joined the Horace Silver Quintet, with whom he played and recorded until the band's breakup in March 1964, polishing his hard bop skills. During his Silver days, Mitchell worked with tenor Junior Cook, bassist Gene Taylor, drummer Roy Brooks, and various pianists as a separate unit and continued recording as a leader for Riverside. When Silver disbanded, Mitchell's spinoff quintet carried on with Al Foster replacing Brooks and a young future star named Chick Corea in the piano chair. This group, with several personnel changes, continued until 1969, recording a string of albums for Blue Note. Probably aware that opportunities for playing straight-ahead jazz were dwindling, Mitchell became a prolific pop and soul session man in the late '60s, and he toured with Ray Charles from 1969 to 1971 and blues/rock guitarist John Mayall in 1971-1973. Having settled in Los Angeles, he also played big-band dates with Louie Bellson, Bill Holman, and Bill Berry; made a number of funk and pop/jazz LPs in the late '70s; served as principal soloist for Tony Bennett and Lena Horne; and kept his hand in hard bop by playing with Harold Land in a quintet. He continued to freelance in this multifaceted fashion until his premature death from cancer at age 49. 

(By Richard S. Ginell from allmusic.com)

quarta-feira, 7 de novembro de 2012

Duke Ellington and His Orchestra - Sophisticated Lady - Featuring Harry Carney on baritone sax

Duke Ellington - Jazz Violin Session

  1. Take The A Train
  2. In A Sentimental Mood
  3. Don't Get Around Much Anymore
  4. Day Dream
  5. Cotton Tail
  6. Pretty Little One
  7. Trickys Licks
  8. Blues in C
  9. String Along with Strings
  10. Limbo Jazz
  11. The Feeling of Jazz
Jazz Violin Session

Paul Gonsalves (Tenor Sax), Stephane Grappelli (Violin), Stephane Grappelli (Main Performer), Ray Nance (Violin), Svend Asmussen (Viola), Svend Asmussen (Main Performer), Russell Procope (Alto Sax), Buster Cooper (Trombone), Duke Ellington (Piano), Duke Ellington (Producer), Duke Ellington (Main Performer), Ernie Shepard (Bass), Billy Strayhorn (Piano), Sam Woodyard (Drums)

Recorded February, 22 1963 at Barclay Studios, Paris, France

This small group session was recorded in 1963 for Atlantic, and originally issued in 1976, two years after Duke Ellington's death. It showcases a small group that features string players in the front line. Ray Nance, the Duke's own violinist, is here as is the legendary Stephane Grappelli and violist Svend Asmussen. The rest of the players include tenor man Paul Gonsalves, drummer Sam Woodyard, bassist Ernie Shepard, alto saxist Russell Procope, and trombonist Buster Cooper. Ellington plays piano no all but two tunes where Billy Strayhorn replaced him. The program is a collection of Ellington and Strayhorn standards from "Blues in C" and "Take the 'A' Train," to "Don't Get Around Much Anymore," "Cotton Tail," and the wonderful "Limbo Jazz." The soloist and group interplay are gentle, swinging, and utterly and completely graceful and elegant. There is a lighthearted tenderness in this set that borders on sentimentality without ever going there. And the feeling is loose, relaxed, and full of warmth throughout. 

(By Thom Jurek from allmusic.com)


terça-feira, 6 de novembro de 2012

Andre Previn His Piano and Orchestra - Like Love

  1. Like Love
  2. When I Fall In Love
  3. I Wish I Were In Love Again
  4. Falling In Love Again
  5. In Love In Vain
  6. Nothin' To Do With Love
  7. Love Is Here To Stay
  8. Love Me Or Leave Me
  9. Looking For Love
  10. At Long Last Love
  11. Like Someone In Love
  12. I Love A Piano
Like Love

Like Love is a pleasant session that features pianist André Previn and a string section breezing through several standards that include "love" in the title. Previn keeps the proceedings from getting too sugary by utilizing his jazz chops, which especially benefit Hollander/Lerner's "Falling in Love Again," George and Ira Gershwin's "Love Is Here to Stay," and Cole Porter's "At Long Last Love." Originally released in 1960 on Columbia, this Collectables reissue is an enjoyable and romantic addition to Previn's immense catalog. 

(By Al Campbell from allmusic.com)


segunda-feira, 5 de novembro de 2012

John Coltrane Quartet - Ballads

  1. Say It (Over And Over Again)
  2. You Don't Know What Love Is
  3. Too Young To Go Steady
  4. All Or Nothing At All
  5. I Wish I Knew
  6. What's New
  7. It's Easy To Remember
  8. Nancy (With The Laughing Face)

John Coltrane, tenor sax
McCoy Tyner, piano
Jimmy Garrison, bass
Elvin Jones, drums

Throughout John Coltrane's discography there are a handful of decisive and controversial albums that split his listening camp into factions. Generally, these occur in his later-period works such as Om and Ascension, which push into some pretty heady blowing. As a contrast, Ballads is often criticized as too easy and as too much of a compromise between Coltrane and Impulse! (the two had just entered into the first year of label representation). Seen as an answer to critics who found his work complicated with too many notes and too thin a concept, Ballads has even been accused of being a record that Coltrane didn't want to make. These conspiracy theories (and there are more) really just get in the way of enjoying a perfectly fine album of Coltrane doing what he always did -- exploring new avenues and modes in an inexhaustible search for personal and artistic enlightenment. With Ballads he looks into the warmer side of things, a path he would take with both Johnny Hartman (on John Coltrane & Johnny Hartman) and with Duke Ellington (on Duke Ellington and John Coltrane). Here he lays out for McCoy Tyner mostly, and the results positively shimmer at times. He's not aggressive, and he's not outwardly. Instead he's introspective and at times even predictable, but that is precisely Ballads' draw. 

(By Sam Samuelson from allmusic.com)

sexta-feira, 2 de novembro de 2012

Arturo Sandoval - A Time For Love

  1. Après Un Reve
  2. Emily
  3. Speak Low
  4. Estate
  5. A Time For Love
  6. Pavane Pour Une Infante Defunte (Pavane For A Dead Princess)
  7. I Loves You Porgy
  8. Oblivion (How To Say Goodbye)
  9. Pavane
  10. Smile
  11. All The Way
  12. Smoke Gets In Your Eyes
  13. Windmills Of Your Mind
  14. Every Time We Say Goodbye
A Time For Love

Arturo Sandoval is a true maestro: despite his reputation as a bop-based trumpeter who plays jazz inspired by his native Cuban tradition, he has delved deeply into tango, swing, and electric jazz in his long career. He is also a fine pianist and percussionist. That said, the notion of him recording a collection of classical pieces, standards, and ballads with a trio and a string orchestra as backing is more than a bit of a surprise. Nonetheless, that’s what A Time for Love basically is. Sandoval claims that this is the realization of a 20-year dream. He wanted it bad enough to make and release the record himself, but fate stepped in. Pianist Shelly Berg heard the demos and brought him to Concord’s Greg Field, who in turn brought in Grammy-winning arranger Jorge Calandrelli. They co-produced while Calandrelli arranged eight of the nine string charts -- Berg arranged the other and brought in his trio to back up Sandoval.

The classical readings include Fauré’s “Aprés un Reve" and “Pavane,” Ravel’s "Pavane Pour une Infante Defunte" (with Chris Botti on second trumpet), and Astor Piazzolla's “Oblivion” (with Monica Mancini on vocals). All reveal the emotional depth of Sandoval's playing, not just his technical acumen. While his fiery jazz playing can emote, it is often overshadowed by his expertise. Here, it is softness and tenderness without sentimentality that speak to the listener. The standards such as “I Loves You Porgy,” the shimmering swing in “Speak Low,” and the deep romance in the Johnny Mandel-Johnny Mercer classic “Emily” seemingly come from the vocal jazz tradition. Yet in them one can readily hear what Sandoval claims are his two greatest inspirations for this album: trumpeter Bobby Hackett's playing with the Jackie Gleason Orchestra, and the album Clifford Brown with Strings. The musical economy of those influences is reflected in the emotional weight and complex lyrical dimension carried in each note by Sandoval; the arrangements serve to heighten that revelation rather than overtake it. There are two very satisfying bonus tracks included as well, “The Windmills of Your Mind,” a stellar duet with Berg, and Cole Porter's “Every Time We Say Goodbye,” with Kenny Barron guesting on piano. It’s tempting to call A Time for Love Sandoval's masterpiece, but that is based on the sharp contrast with virtually everything else in his catalog; only time will reveal whether or not it is. For now, what is certain is that it is one of them.

(by Thom Jurek from allmusic.com)

A blazing, technically flawless trumpeter from Cuba, Arturo Sandoval has been dazzling audiences all over the world with his supercharged tone and bop-flavored flurries way up in the trumpet's highest register. In slower numbers, he sports a golden, mellow tone on the flügelhorn, marked with a sure, subtle sense of swing. Apparently he is capable of playing anything, proving it more than once by tackling classical repertoire as well as jazz in the same concert, and he has enough curiosity to search far beyond his Cubop base for repertory. Yet he often lets his desire to please the crowd with high-note displays get in the way of musical values, and he has yet to make a great record that can stand with those trumpet giants that have preceded him.

The son of an auto mechanic, Sandoval took up the classical trumpet at 12 and was enrolled in the Cuban National School of the Arts at 15, studying with a Russian classical trumpeter. Early in the 1970s, he became one of the founding members of the Orquesta Cubana de Musica Moderna, which by 1973 had evolved into the Afro-Cuban, rock-influenced band Irakere. Sandoval met his idol Dizzy Gillespie in 1977, who promptly became a mentor and colleague, playing with Sandoval in concerts in Europe and Cuba and later featuring him in the United Nation Orchestra. After recording an album with David Amram, Havana/New York, and a couple of high-profile Irakere albums on Columbia, Sandoval left the group in 1981 to tour with his own band and record in Cuba. Occasionally, the Castro government would allow Sandoval to appear in various international jazz festivals and with orchestras like the BBC Symphony and Leningrad Philharmonic. Though he chafed under a regime that restricted his touring, Sandoval bided his time until he could get his wife and son out of Cuba, and only then, in July 1990 during a long European tour, did he defect at the American Embassy in Rome, settling in Florida.

Signing with GRP, Sandoval's first American album, appropriately titled Flight to Freedom, demonstrated his versatility in several idioms, and he toured with his own high-energy Afro-Cuban group in the 1990s. Hot House followed in 1998, and a year later he returned with Americana. L.A. Meetings appeared in spring 2001. For 2003's Trumpet Evolution, Sandoval selected material from his favorite horn players. Since that time, he has released a handful of recordings including Live at the Blue Note in 2005 and Arturo Sandoval & the Latin Jazz Orchestra and Rumba Palace, both in 2007. In 2010, Sandoval released his first album for the Concord Jazz imprint, a collection of ballads entitled Time for Love.

(by Richard S. Ginell from allmusic.com)

quinta-feira, 1 de novembro de 2012

The Wonderful World of Antonio Carlos Jobim - with Nelson Riddle

  1. She's A Carioca
  2. Agua De Beber
  3. Surfboard
  4. Useless Landscape
  5. Só Tinha De Ser Com Você
  6. A Felicidade
  7. Bonita
  8. Favela
  9. Valsa De Pôrto Das Caixas
  10. Samba Do Aviao
  11. Por Toda A Minha Vida
  12. Dindi
The Wonderful World

ANTONIO CARLOS JOBIM. A slight, unvarnished young man, looks deceptively young for so much fame, so much talent. The author of many works, all uniquely his, including "One Note Samba" and "The Girl from Ipanema".

And with this album he introduces a dozen more uniquities.

He sits at his microphones, his hair undressed, finger-combed. His right leg crossed over his left to support his guitar. The lyrics, written by Academy Award writer Ray Gilbert, are new, unfamiliar sounds sounds for him to interpret. To one side, Brazilian drummer Domum Romdo, imported by Jobim for this recording.

Jobim's voice, audible in the studio only to the microphone. He pronounces carefully, moving his jaw precisely for each vowel.

Beside him, the arranger conducts his orchestra, Riddle, looking dour, an exacting artist, imperceptibly relaxes the beat. With a patience born of years of elite and taxing assignments, Riddle controls the sprawling rows of musicians before him. The room has quiet about it, the quiet that settles only when a great and respected fellow musician concentrates on his art.

"Nelson, that is beautiful, that is beautiful. Could I speak something to the clarinets".

Jobim meets the reed section. He quietly lines out a rhythm pattern, nudging one sixteenth-note to great prominence. The clarinets bend across their music stands closer to Jobim, as if he were whispering the combination to his vault.

He moves back to his microphones, to his cigarette. He inhales, and his cheeks pull in hollow. His face a question mark as he unhurriedly re-reads his score. He examines each measure as if it were the final stroke on the Mona Lisa. Unhurried, while the less musical world sits by at $15 a minute and waits, while Jobim studies his score. Jobim, like a meticulous customs guard who isn't about to be hurried in his item-by-item checking.

He is ready again.

He begins to play his guitar, peering down at his fingers. His brown hair tumbles over, weeding his forehead. He slows the beat, delighting in his suspenseful rhythms. The same kicks as mortals get from a double-quick Sousa march.

He sings. His eyes peer out over his music stand, seeing the beaches of Brazil, the soft girls, the pale winds. His eyes, as if unaccustomed to the bright studio day, blink frequently.

The first chorus is complete. Jobim smiles slightly at the corners of his mouth as he presses the fingering of his newborn into the frets.

(Stan Cornyn from the original liner notes)

Unlike his debut, Jobim's second LP for the American market was strictly a pop album, with the composer himself singing, while the arranging/conducting chores were placed in the capable hands of Nelson Riddle. What promises to be an excellent collaboration, however, doesn't quite turn out, and the results are much more bland than could be expected from such distinct talents. To begin with, Riddle's charts are surprisingly safe, quite a disappointment from the man whose work with Frank Sinatra raised the bar for the art of arranging. Jobim's contributions are less than expected also, limited for the most part to his quavering vocals (Warner Bros. seems to have been positioning him as a pop star) and a set of compositions inferior to his first album (only "Agua de Beber" is repeated here). Jobim's is the voice of a composer, though, and what he lacks in tonal quality and strength he does make up for with delivery and subtlety of interpretation, especially on contemplative material like "Dindi" and "A Felicidade." It's not all Brazilian ennui; the instrumental "Surfboard" has a playful edge, with a rush of strings bringing on the collapse of each wave, and "She's a Carioca" (with English lyrics by Ray Gilbert) is a cheerful sequel to "The Girl From Ipanema." 

(By John Bush from allmusic.com)

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