domingo, 29 de janeiro de 2012

Frank Chacksfield and His Orchestra - Close Your Eyes - Featuring Bobby Pratt on trumpet

  1. Mean To Me
  2. I've Got The World On A String
  3. Lullaby Of The Leaves
  4. By The Fireside
  5. Close Your Eyes
  6. The Call To Arms
  7. Love Is The Sweetest Thing
  8. A Blues Serenade
  9. I Didn't Know What Time It Was
  10. My Own
  11. Let's Put Our Heads Together
  12. Where Are You?
Close Your Eyes

quinta-feira, 26 de janeiro de 2012

Tony Bennett - Perfectly Frank

  1. Time After Time
  2. I Fall In Love Too Easily
  3. East Of The Sun (West Of The Moon)
  4. Nancy
  5. I Thought About You
  6. Night And Day
  7. I've Got The World On A String
  8. I'm Glad There Is You
  9. A Nightingale Sang In Berkely Square
  10. I Wished On The Moon
  11. You Go To My Head
  12. The Lady Is A Tramp
  13. I See Your Face Before Me
  14. Day In, Day Out
  15. Indian Summer
  16. Call Me Irresponsible
  17. Here's That Rainy Day
  18. Last Night When We Were Young
  19. I Wanna Be In Love Again
  20. A Foggy Day
  21. Don't Worry 'Bout Me
  22. One For My Baby
  23. Angel Eyes
  24. I'll Be Seeing You
Perfectly Frank

Featuring The Ralph Sharon Trio

Musicians:

Ralph Sharon, piano
Paul Langosch, bass
Joe LaBarbera, drums

"The Torch and Saloon Songs of Sinatra"

The date is October 13, 1974. My Mom, tragically bedridden, had her entire family around her. we were praying, doing everything to lift her spirits. Her only entertainment was watching television, so we were anxiously tuned in to a music special called "The Main Event". The performer was Sinatra, "The Champ", at Madison Square Garden. We were so enthralled with his performance. Suddenly, in-between two marvelous songs, he belts out that I'm his favorite singer. Taken by surprise, I looked over at my mom. Here eyes opened almost as big as her heart. It was one of the great moments of my life. I'll never forget what he did for me that day. It will remain one of the greatest moments of my life.

There is a warm side to Sinatra that has never been played up properly. Being "on the inside of show business", I can't begin to tell you how many human stories I've heard about the silent Sinatra. Highly philanthropic, he down-plays the thousands of worthwhile benefits he has done over the years. As a private man with a profound sense of loyalty to his friends, he never touts the generosity he has shown to those he loves. That's the man!

Now, the artist! In his day, Michelangelo was considered a stonecutter. Today, we all stand in awe of his perfection. With Sinatra, there is that same quality that will endure and be hard to top. Even though Sinatra's creative premise was popular entertainment, he never compromised on any of his recordings. Hundreds of years from now, these records will sound as fresh as they do today. His ability to communicate so strongly has hauled him to the top of the heap. Dedication to his craft has earned him the title - "King of the Entertainment World" - a position well deserved.

The United States is the youngest and most vital empire in existence. I believe popular entertainment is in and of itself an American art form. Above anyone else, Sinatra as a performer has contributed the highest level of excellence. He has given us all a legacy to aspire to and a standard to live by.

(Tony Bennett, from the original liner notes)

terça-feira, 24 de janeiro de 2012

Hill Bowen and His Orchestra - I Married An Angel - For Hi-Fi Living Vol. 4

  1. I Married An Angel
  2. Lovely Lady
  3. Taking A Chance On Love
  4. Song Of Love
  5. I'll Never Be The Same
  6. Doll Dance
  7. I Love You
  8. More Than You Know
  9. That Old Feeling
  10. Once In A While
  11. Blue Moon
  12. Down Among The Sheltering Palms
I Married An Angel

sexta-feira, 20 de janeiro de 2012

Frank Chacksfield e sua Orquestra - Tango!

  1. Adios Muchachos
  2. Tonight
  3. La Cumparsita
  4. La Rosita
  5. Midnight Tango
  6. The Song Of The Rose
  7. Hear My Song, Violetta
  8. Tango de La Zarzuela
  9. No Other Love
  10. Aquellos Ojos Verdes
  11. Tango Romano
  12. Solamente Una Vez
Tango!

quarta-feira, 18 de janeiro de 2012

The Strings Of Paris - Romantic Flute Melodies (with Amanda Serafim) - Conducted by Jean Paul de la Tour

  1. Lady Of The Dawn
  2. Perhaps Love
  3. Maladie D'Amour
  4. Something
  5. David's Song
  6. I'm In The Mood For Love
  7. Take That Look Off Your Face
  8. Feelings
  9. Heidschi Bumbeidschi
  10. Here Comes The Sun
  11. A Passage To India
  12. Rondo Russo
  13. Let It Be
  14. Some Enchanted Evening
  15. Annie's Song
  16. Tristezza
Romantic Flute Melodies

segunda-feira, 16 de janeiro de 2012

101 Strings Orchestra - Memories Of Germany

  1. Medley: In München Steht Ein Hofrauhaüs / Trink, Trink, Brüderlein, Trink
  2. Du, Du, Liegst Mir Im Herzen
  3. Medley: Kommt Ein Vöglein / Geflogen / In Schönen Wiesengrunde
  4. Schwabing Polka
  5. Lili Marlene
  6. Wunderbar
  7. Maiennacht
  8. Kirschweih Polka
  9. Die Lorelei
  10. Auf Wiedersehn
Memories Of Germany

sábado, 14 de janeiro de 2012

Nat King Cole - Collection

  1. Quizas, Quizas, Quizas
  2. La Feria De Las Flores
  3. Tres Palabras
  4. Yo Vendo Unos Ojos Negros
  5. Vaya Con Dios
  6. Aquellos Ojos Verdes
  7. Ay, Cosita Linda
  8. Solamente Una Vez
  9. Cachito
  10. Las Mañanitas
  11. Adios Mariquita Linda
  12. Noche De Ronda
  13. Te Quiero Dijiste
  14. No Me Platiques
  15. Fantastico
  16. Ansiedad
  17. El Bodeguero
  18. Nadie Me Ama
  19. Capullito De Alleli
  20. Adelita
  21. La Golondrina
  22. Arrivederci Roma
  23. Perfidia
  24. Piel Canela
  25. Maria Elena
  26. Guadalajara
  27. Acercate Mas
  28. Las Chapanecas
  29. El Choclo
  30. Aqui Se Habla En "Amor"
Collection


O mundo da canção, sobretudo o das grandes estrelas, é composto por talento, perseverança, técnica e sorte. Pode-se ter os três primeiros elementos em grau superlativo que, se a sorte se opuser, nunca deixará de ser um artista minoritário, reconhecido por uma fervorosa minoria, porém desconhecido pela imensa maioria. No caso de Nathaniel Adam Cole, que é o verdadeiro nome de Nat King Cole, a sorte chegou na forma de um cliente bêbado. Nat tocava piano com um trio de jazz e já tinha prestígio neste terreno. Sobretudo porque seu grupo era composto por guitarra, baixo e seu piano, algo original neste campo. a falta da bateria se deve a uma casualidade. No dia da estréia no "Hollywood's Inn" o percussionista não se apresentou; concluíram que não importava a sua ausência. Logo abriram mão dele... Numa certa noite, tocando em um clube, um cliente alcoolizado insistiu para que Nat cantasse sua canção favorita. Nesta época, Cole estava concentrado em sua performance como pianista e não cantava profissionalmente; então, teve que ser convencido pelo gerente do clube, disposto a evitar atritos, para que cantasse o tema exigido pelo cliente. O resultado foi o descobrimento de uma voz absolutamente excepcional. De Nat, se diz que, tivesse ele nascido branco, teria feito Bing Crosby e Frank Sinatra se aposentarem juntos. Mas não precisava de rivais. Hoagy Carmichael, autor de "Stardust", afirmou que ninguém cantara tão bem seu tema quanto Nat King Cole. Mais surpreendente pode ser a confissão de um roqueiro, Chuck Berry: "Se tivesse que escutar um só artista durante a eternidade, o artista seria Nat Cole". 


Nat nasceu a 17 de março de 1917 em Montgomery - Alabama, ainda que algumas biografias o façam dois anos mais jovem. Morreu em 19 de fevereiro de 1965, vítima de câncer na garganta, prodigiosa garganta, na California. ao longo dos 46 anos de vida, colocou 76 canções nas paradas da revista "Billboard", entre elas diversos nºs 1. Além disso, 24 Lps, sendo que e os discos só conviveram durante dez anos, visto que este formato só começou a ser editado em 1956. Em 1950, meses antes da Revolução Castrista, decidiu ganhar dinheiro cantando em espanhol e partiu para Cuba para gravar alguns dos boleros mais famosos da época, sob a direção do músico local, Armando Romeu Jr. Lançou o disco "Cole Español" e o resultado já tremendo em todos os mercados de língua espanhola. Na relação de repertório estavam "Quizas, Quizas, Quizas", "Adelita", "Te Quiero Dijiste", "Maria Elena" ou "El Bodeguero". Imediatamente, Nat King Cole pensou num segundo disco, desta vez alternando as canções em espanhol e em português. Para isso, Nat veio ao Brasil, desta vez com um diretor musical norte-americano e gravou "A Meus Amigos". O diretor era Dave Cavanaugh e no repertório estavam os dois temas básicos da discografia de Cole em castelhano: "Ansiedad" e "Perfidia". Este disco surgiu em 1959 e não fez mais do que repetir o triunfo do primeiro. Havia espaço para um terceiro disco, mas resolveram esperar um pouco.

Foi no México, em 1961, que Cole gravou seu terceiro Lp em língua hispância, intitulado "Cole Espanhol, Novamente". Ralph Carmichael dirigiu os arranjos e ali estavam "Piel Canela" e "Solamente Una Vez", que completavam a obra de Nat King Cole em espanhol.

Um verdadeiro presente para todos os fãs; até o ponto de que para muitos, algumas dessas versões são as melhores, as definitivas. Canções que conheceram muitas vozes e muitos arranjos. é importante dizer que não foram só boleros que Nat buscou na tradição hispânica. Também gravou algum cha-cha-cha inesquecível, como "El Bodeguero", um tango quase ininteligível, como "El Choclo" ou rancheiras como "Adelita" e "La Feria De Las Flores", sem esquecer "Las Mañanitas".

Entre seus êxitos em inglês consta uma canção já clássica: "Unforgettable". Significa inesquecível e Nat - "O Rei" - é isso: inesquecível!

(Jose Ramon Pardo, das notas originais do álbum)

quinta-feira, 12 de janeiro de 2012

The Mantovani Orchestra - Mantovani Magic - All Time Greatest Hits

  1. You Are The Sunshine Of My Life
  2. How Deep Is Your Love?
  3. Don't Cry For Me Argentina
  4. You Light Up My Life
  5. Mull Of Kintyre
  6. A Whiter Shade Of Pale
  7. Can't Smile Without You
  8. Annie's Song
  9. Chanson D'Amour
  10. Nobody Does It Better
  11. Winner Takes It All
  12. Killing Me Softly With His Song
  13. Greensleeves
  14. A Time For Us
  15. By Bye Love
  16. You Don't Bring Me Flowers
  17. The Way We Were
  18. I Know I'll Never Love This Way Again
  19. MacArthur Park
  20. Scarborough Fair
  21. I Write The Songs
  22. Plaisir D'Amour
  23. La Mer
  24. Nights In White Satin
  25. The First Time Ever I Saw Your Face
  26. Long And Winding Road
Mantovani Magic

sábado, 7 de janeiro de 2012

The Ray Brown All Stars - Don't Forget The Blues

  1. Blues'd Out
  2. Jim
  3. Night Train
  4. If I Could Be With You (One Hour Tonight)
  5. Rocks In My Bed
  6. You Don't Know Me
  7. Jumpin' The Blues
  8. Don't Forget The Blues
Personnel:
Ray Brown, bass
Ron Eschete, guitar
Al Grey, trombone
Gene Harris, piano and fender rhodes
Grady Tate, drums

Don't Forget The Blues

Ray Brown need not have made the statement "Don't Forget The Blues" in this collection, because the blues have become akin to the pyramids - they will last forever. What form of folk poetry has so encapsulated the entire range of human emotions other than the blues. Traditionally, the blues have been something like an escape valve venting off either joy or sorrow - love or hate. The fact the blues have accomplished its point with minimum verbiage and succintness is one of its endless charms. The blues gets to the point immediately and doesn't "beat around the bush". Nowhere is it more evident than in a song that Lil Green used to sing years ago - "I knew you were jivin' when I took you in". Obviously, there are disastrous results ahead, and the male-female relationship is headed for trouble, but that is the basic charm of the blues. The average soap opera might possibly take a month's performances to put the same idea across as that one line in Lil Green's cogent statement.

It is safe to say that jazz would not have the same impact without the solid foundation of the blues. For a music form which by some standards was considered primitive, it has remained resilient enough so that a player without blues roots is suspect. That cannot be said about the quintet Ray Brown fronts on this date. Each musician has had considerable experience in any number of groups and record sessions over the years, and credentials are firmly established.

Guitarist ron Eschete has recently traveled as a member of a Ray Brown group, and before that with Gene Harris. Gene is remembered affectionately for his early work with "The Three Sounds" and countless sessions since then. Trombonist Al Grey has the capacity to put his smile through the bell of his horn and the result is exceptional. All the important people want Grady Tate on their date, and this session is no exception. As for Ray Brown, his studio time is legendary, to say nothing of the road time.

Blues'd Out opens this session with some positive trombone emphasis from al Grey's finger poppin' tempo, definitely setting the mood for the rest of the date.

Jim has been around for many years, and in this version Gene Harris adds the proper touch of sentiment in switching to the electric keyboard. Ray Brown is also highlighted prominently with appropriate sensitivity.

In blues repertoire, trains have figured prominently, and Night Train is no exception. That familiar train Jimmy Forrest introduced years ago, and the mournful clatter of wheels on track - including some nightime sounds - solidifies the fact that blues and trains do make positive sounds.

Fats Waller's mentor, pianist James P. Johnson, wrote the next piece has been around since the 20's - If I Could Be With You (One Hour Tonight). Al Grey weaves some gentle trombone magic to introduce this sentimental favorite and the mood is then carried on by guitarist Ron Eschete.

Duke Ellington's musical review "Jump For Joy" included the next item - Rocks In My Bed. Ivie Anderson sang on the 1941 Ellington recording but this instrumental blues treatment allows Ron Eschete to draw on every blues strain he has ever heard - to the extent the collective effort goes beyond the blues and is more appropriately indigo.

Eddy Arnold's classic - You Don't Know Me - has all the anguish of lost love, and blues are never more at home than in dealing with the endless misfortunes confronting man and woman. Gene Harris particularly stands out, and the band conveys the proper levels of angst.

Kansas City put the blues into high gear, and Jay McShann's Jumpin' The Blues here is no exception. Drummer Grady Tate wheels this group in the right direction with ho holds barred.

Don't Forget The Blues is Ray Brown's final admonition. There is a churchlike approach to this closing statement with an exactness which is disarming. Another of the positive factors about the blues is its unpretentiousness.

The blues are not a gimmick, nor a fad, and its honesty and lack of affection is the glue which holds it together. Ray Brown needn't worry - how could anyone forget the blues!

(by Felix Grant from the original liner notes)


The huge and comfortable sound of Ray Brown's bass was a welcome feature on bop-oriented sessions for over a half-century. He played locally in his native Pittsburgh in his early days.

Arriving in New York in 1945, on his first day in town Brown met and played with Dizzy Gillespie, Charlie Parker, and Bud Powell. He was hired by Gillespie for his small groups and his big band; "One Bass Hit" and "Two Bass Hit" were early features, and he can be seen with Dizzy Gillespie in the 1947 film Jiving in Bebop. Although not a soloist on the level of an Oscar Pettiford, Brown's quick reflexes and ability to accompany soloists in a swinging fashion put him near the top of his field. After playing with Jazz at the Philharmonic, he married Ella Fitzgerald (their marriage only lasted during 1948-1952), and for a time led his own trio to back the singer. Brown recorded with an early version of the Modern Jazz Quartet (under Milt Jackson's leadership), and then became a permanent member of the Oscar Peterson Trio (1951-1966).

With Peterson, the bassist traveled the world, guested with other top jazz artists, was featured on JATP tours, became famous, and recorded constantly. He began playing cello in the late '50s, and used it on a few of his own dates. After leaving Peterson, Brown settled in Los Angeles, worked in the studios, continued recording jazz, and worked as a manager of several artists (including the Modern Jazz Quartet and Quincy Jones). He played with the L.A. Four starting in 1974, did a great deal to revive the careers of Ernestine Anderson and Gene Harris, and recorded extensively for Pablo and Concord. The Ray Brown Trio featured pianists Gene Harris, Benny Green, and Geoff Keezer, along with drummers Jeff Hamilton and Greg Hutchison, and recorded for Concord and Telarc. He continued touring up until his death, dying in his sleep while napping before a show in Indianapolis on July 2, 2002. His last batch of sessions, working as a trio with pianist Monty Alexander and guitarist Russell Malone, were released that fall. 

(by Scott Yanow from allmusic.com)

segunda-feira, 2 de janeiro de 2012

The Manzanilla Sound - Make Mine Manzanilla

  1. Mammy Blue
  2. Summer Of '42
  3. Matchmaker, Matchmaker
  4. I'd Like To Teach The World To Sing
  5. Smile
  6. Why Can't Well All Get Together
  7. Cat Walk
  8. Flirt! (Pour Un Flirt)
  9. Never My Love
  10. Cabaret
  11. Rangers Waltz
  12. You've Lost That Lovin' Feelin'
  13. Land For Lovers
  14. Medway Magic
Make Mine Manzanilla

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