- Evening Serenade
- Rose Marie
- I'll Take Romance
- Rainbow Rhapsody
- Night And Day
- Our Love
- Mr. Wonderful
- If I Had You
- It Happened In Sun Valley
- Wonderful One
- I've Got My Love To Keep Me Warm
quinta-feira, 30 de agosto de 2012
quarta-feira, 29 de agosto de 2012
- Unchained Melody
- The Magnificent Seven
- Tara's Theme
- Last Date
- Song From Moulin Rouge
- Theme from "The Sundowners"
- Never On Sunday
- Night Theme
- It's Not Forever
terça-feira, 28 de agosto de 2012
- On a Clear Day (You Can See Forever)
- Patch Of Blue
- Good Morning Starshine
- Stranger On The Shore
- La Mer
- The Fool On The Hill
- Ich Tanze Mit Dir in Den Himmel Hinein
- Bridge Over Troubled Waters
segunda-feira, 27 de agosto de 2012
- Love Walked In
- If I Could Be with You
- I Cover the Waterfront
- Stars Fell on Alabama
- Autumn Leaves
- September in the Rain
- Where or When
- La Vie en Rose
- Something to Remember You By
- When April Comes Again
sexta-feira, 24 de agosto de 2012
- Cadet Rousselle (Raymond Lefevre)
- Let It Be (John Lennon - Paul McCartney)
- La Queste "Man of La Mancha" (Darion - Leigh)
- Toccata et Fugue (Johann Sebastian Bach)
- Capriccio Rhapsodie (Niccolo Paganini)
- Le Vol du Bourdon (Nikolay Rimsky-Korsakov)
- La Vie Parisienne (Jacques Offenbach)
- Paris Medley: Sous le ciel de Paris, Tombe la neige, Les Champs Elysées, Les Feuilles Mortes, A Paris, Hymne a l'Amour
- Le Fantôme de l'Opera (Andrew Lloyd Webber)
- Piccola Fantasia (Jean-Michel Lefevre)
- Gymnopedie (Erik Satie)
- Kanashii Sake (M. Koga)
- L'Abeille (Franz Schubert)
- Le Printemps (Antonio Vivaldi)
- La Reine de Saba (L. Michel)
quinta-feira, 23 de agosto de 2012
- The Wind Beneath My Wings
- I Will Wait For You
- My Cherie Amour
- Plaisir d'amour
- Can't Help Falling in Love
- Beauty and the Beast
- My Heart Will Go On (Love Theme from 'Titanic')
- Can You Feel the Love Tonight
- Perhaps Love
- The Way We Were
- Love Story
- When a Man Loves a Woman
- I Just Called to Say I Love You
- I Will Always Love You
quarta-feira, 22 de agosto de 2012
- Porque Te Va
- Je Vais T'aimer
- Qu'est-ce Qui Fait Pleurer Les Blondes?
- Je T'aime, Tu Vois
- Save Your Kisses For Me
- Le Concerto De La Mer
- Derriere L'amour
- Avant De Nous Dire Adieu
- Et Mon Pere
- Ca Va Pas Changer Le Monde
- Le France
- Charlie Brown
- La Reine De Saba
- Never Grow Old
- Those Where The Days
- Love Is Blue
- La Bambola
- I Will Wait For You
- 'S Wonderful
- Canzone D'amore
- Two Happy "Muchachos"
- Wherever You Are
- Heidschi Bumbeidschi
- Dream A Little Dream of Me
- Heimat, Deine Sterne
terça-feira, 21 de agosto de 2012
- The Song From Moulin Rouge
- La Gaite Parisienne
- Mon Homme
- A Paris
- La Belle Helene
- La Ronde De L'Amour
- La Vie Parisienne
- Apache Dance
- Sous Les Toits De Paris
- Paris Canaille
- Wonderland By Night
- And The Angels Sing
- Love Theme From "La Strada"
- You Made Me Love You
- Melancholy Serenade
- When It's Sleepy Time Down South
- Oh, Mein Papa
- Cherry Pink And Apple Blossom White
- Memories Of You
The golden horn of Billy Butterfield soars through twelve great trumpet hits in this exciting new collection. Billy's famous tone is burnished to a dazzling polish as he re-creates the magic of these famous solos, one of them is his own superb version of "Stardust".
Billy first gained recognition as a member of the Bob Crosby Bobcats when he was in his twenties. The hit ballad, "What's New", written in collaboration with Bobby Haggart, made him even more famous. Later, Billy joined forces with Artie Shaw, doubling with the famous Gramercy Five from time to time, then played with the Benny Goodman orchestra until service with the Armed Forces temporarily interrupted his career.
On his return Billy found himself one of the most sought-after sidemen in New York. The demand for his services kept him close to New York radio, television and recording studios for several years, but eventually he was prevailed upon to form his own touring band. Despite enthusiastic receptions wherever the group played, billy found his New York work more rewarding, and returned to resume his status as one of the city's most prominent musicians.
His latest Columbia collection opens with his notable performance of "Stardust", then moves on to "Wonderland by Night", which established the American fame of Bert Kaempfert. "And The Angels Sing" is Billy's tribute to Ziggy Elman, followed by the haunting Love Theme from the film "La Strada". The music making of Harry James is recalled in "You Made Me Love You", while "Melancholy Serenade" salutes Jackie Gleason's memorable theme.
Billy's memento of the great Louis Armstrong is "When It's Sleepy Time Down South", followed by "Oh, Mein Papa", originally introduced by Eddie Calvert. Perez Prado's "Cherry Pink and Apple Blossom White" comes next, along with Ralph Marterie's great hit, "Pretend". "Tenderly", as played by Charly Tabor with Bert Kaempfert, is Billy Butterfield's next salute, and he closes with "Memories Of You" as a tribute to Sonny Dunham.
(From the original liner notes)
domingo, 19 de agosto de 2012
- Mexican Hat Dance
- La Paloma
- Mexican Holiday
- La Chachachita
- Ay Ay Ay
- La Tromba Espanola
- Cuando Caliente El Sol
- Ole O Cangaceiro
- Cielito Lindo
- Vaya Con Dios
- Fiesta In Rio
Arranged and Conducted by: Gert Wilden
Anywhere you go in Europe, it's the same story - the story of Roy Etzel, the trumpet player whose recording of Jenny a few years ago dazzled Europe and sent brass fans into ecstasies. Overnight he was hailed as Mr. Trumpet wherever he went...with Max Gregor's fabulous group.
"A Roman candle of sound".
And the starburst of music he set off led him to succession of feature performances on TV with Hugo Strasser. Then his solid entry into the American market with The Silence (Il Silenzio), a great album on MGM (E/SE-4330).
This Roy Etzel LP contains a fiery collection of great Spanish music...from Spain...from Mexico...from bullring and sundrenched courtyards.
The golden ringing sound and dramatic flourishes of Spanish Brass are part of an old tradition that rings truer and sounds better than ever before when heard through the shinning bell of Roy's big-throated trumpet.
Festival music...feet stamping the hard, dry earth. Mexican Hat Dance.
Music from Andalucia...proud and ancient people.
People pouring into the streets...laughing gaily and singing...Fiesta In Rio.
La Paloma...a melody that goes deep into memory, heard through the years...always evoking Latin romance.
And, of course, La Tromba Espanola...The Spanish Trumpet.
Then, too, there's the sweet, gentle song, the tender voice, Cielito Lindo.
And, lastly, the eternal wish for the traveler..."Go with God", Vaya Con Dios.
Whenever you hear music in the Spanish tradition, you hear certain sounds: even if it is a piano playing you get the strange feeling that far off in the distance there is a guitar...a marimba...and, of course, a trumpet.
If you've ever wondered why this should be, you'll get the message from Roy Etzel. It's...well, it's a message of ecstasy, of luminous joy, of tragedy and profound sorrow. Of blood and pageantry. Of eternal loneliness, and prayer - of despair in the heat of noon, and hope in the cool blue shadows of evening.
Roy Etzel is more than a virtuoso - he has the depth of feeling, the inner reach, that leads him to search out and illuminate whatever music he plays.
He started his career with the great band of Kurt Edelhagen in 1947 when he left school to devote himself to music. He then took his own combo to France, Sweden, and Switzerland. Then, his hit record of Jenny, followed by The Silence.
And now, Spanish Brass, another facet of the exceptional talent of Roy Etzel.
(Frank Stough, from the original liner notes)
sexta-feira, 17 de agosto de 2012
- Máquina de Escrever
- Valsa do Minuto
- Dança Eslava
- Minueto do Divertimento n° 11
- Marcha Turca
- Sonata (4° Movimento) (Bach)
- Liebs Freud
- Serenata dos Milhões de Arlequins
- Contos de Hoffmann
quinta-feira, 16 de agosto de 2012
quarta-feira, 15 de agosto de 2012
- Arioso (da Cantata n° 156) (J.S. Bach)
- Valsa n° 7 (op 64 n° 2) (Chopin)
- A lenda do beijo (da Zarzuela) (R. Soutullo - J. Vert)
- Melodia em fá (Anton Rubinstein)
- Pour Elise (Beethoven)
- Minueto em sol (Beethoven)
- Sonata (Suite em lá menor) (J. S. Bach)
- 5ª Sinfonia (Tema de apresentação) (Beethoven)
- Dança das horas (da Gioconda) (Ponchieli)
- Minueto em lá (Boccherini)
- Junho (Barcarola - op 37 n° 6) (Tchaikovsky)
- Canção da primavera (op 62 n° 6) (Mendelssohn)
One of the most important choro flutists ever, Altamiro Carrilho put together a solid virtuosity and an ease for improvisation that in his 58 years as a professional artist (completed in 2001, having recorded over 110 albums) brought him the praise of both classical and popular renowned musicians, along with a consolidated popularity. His trademark was the insertion of excerpts of classical pieces into choro, and vice versa, as he did in the cadenza of the Concerto #2 in D Major KV 314 ahead of the Orquestra Sinfônica de Porto Alegre (1976). As an accompanist, he worked with Orlando Silva, Vicente Celestino, Elizeth Cardoso, Moreira da Silva, Francisco Alves, Sílvio Caldas, Caetano Veloso, and Chico Buarque, among many others. His maxixe "Rio Antigo" sold 960,000 copies in just six months back in 1956, bringing him national fame. Carrilho also presented the highly successful TV show Em Tempo de Música, and toured through many countries, having being praised as one of the world's best soloists by conductor Boris Trisno. As a classical music soloist, he played lead on several orchestra pieces like Mozart's Concert in G at the Teatro Municipal do Rio de Janeiro (1972). His album Clássicos em Choro was awarded with the Villa-Lobos trophy as Best Instrumental Album, and his Clássicos em Choro No. 2 won the gold record. In 1993, he was awarded with the Prêmio Sharp as the Best Arranger of Instrumental Music for his work on the album Altamiro Carrilho -- 50 Anos de Choro, and, in 1997, he won it again for the Best Instrumental Album, Flauta Maravilhosa.
Having four generations of musicians and conductors in his genealogical tree, becoming a flutist at age five was somewhat natural for Carrilho. Since he was nine, he had started working because of his father's illness, but he continued to study music at night. At 11, he joined the Banda Lira de Arion playing the snare drum. When he was 16, he moved to Niterói (Rio de Janeiro) and became a regular at the radio shows presented by Dante Santoro and Benedito Lacerda. During that period, he won first place in Ary Barroso's novice show. His improvisational skills soon brought him invitations to join the groups led by César Moreno, Canhoto, and Rogério Guimarães. He recorded for the first time in 1943, on a Moreira da Silva album. His first record as a solo artist was recorded six years later, with his choro "Flauteando na Chacrinha." His own regional (small group) was formed in 1950 to work at the Rádio Guanabara. In May 1951, he joined the Regional do Canhoto, replacing Benedito Lacerda. Working at the Rádio Mayrink Veiga, the group accompanied the biggest stars of that period, like Orlando Silva, Vicente Celestino, Moreira da Silva, Francisco Alves, and Sílvio Caldas. In 1955, he formed the Bandinha de Altamiro Carrilho, and, in the next year, he achieved national success with his maxixe "Rio Antigo." Through the TV Tupi show Em Tempo de Música, he and his Bandinha attracted large audience levels for two years. In 1957, he was replaced by Carlos Poyares at the Regional do Canhoto. From 1963 to 1969, he did several international tours through countries like Spain, Portugal, France, England (where he recorded programs for the BBC and NBC), Germany, Lebanon, Egypt, and the former U.S.S.R. (for a three-month season in which he was praised by the conductor Boris Trisno as one of the world's greatest soloists). Carrilho continues to perform and record, and was decorated in 1998 by the President Fernando Henrique Cardoso for his services to the country.
(by Alvaro Neder from allmusic.com)
- April In Portugal
- Blue Tango
- Quiet Village
segunda-feira, 13 de agosto de 2012
quinta-feira, 9 de agosto de 2012
- The Entertainer
- Easy Winners
- Hooker's Hooker
- Pineapple Rag - Gladiolus Rag
- The Entertainer
- The Glove
- Little Girl
- Pineapple Rag
- Merry-Go-Round Music
- The Entertainer - Rag Time Dance
The soundtrack to the Paul Newman-Robert Redford blockbuster The Sting popularized Scott Joplin's classic ragtimes for a new generation, thanks to Marvin Hamlisch's ingenious arrangements and orchestrations. Joplin's brilliance takes the forefront, which is the way it should be, but it's easy to underestimate what Hamlisch achieved with his orchestrations. His incidental music fit the period and Joplin's ragtimes perfectly, and the arrangements of Joplin's works are faithful to the originals while opening them up for new audiences. And that's why the soundtrack feels at once timeless and fresh, which is quite a compliment indeed.
(by Robert Lovering from allmusic.com)
First emerging in the mid-'70s, Marvin Hamlisch was one of the top composers in film, theater, and popular music. As holder of numerous gold record awards for his soundtrack and cast recordings, and the composer of some of the most well-known songs ever cut by Barbra Streisand and Lesley Gore, among many others, he was among the few "stars" in the world of popular music, composition, and songwriting to achieve major public recognition after the emergence of rock music in the '60s.
Born in New York in 1944, Marvin Hamlisch grew up on Manhattan's Upper West Side. His father was an accordionist and bandleader specializing in dance music and Hamlisch showed a fascination with music at an early age. At age five, Hamlisch was mimicking the music he heard on the radio on the piano, and he began lessons a year later. At age seven, he auditioned for the Juilliard School of Music by transcribing the then-current hit "Goodnight Irene" into different keys spontaneously, on demand from the panel judging him. He was accepted, becoming the youngest student in Juilliard's history; he later graduated from Queens College in New York.
In his teens, Hamlisch's performing talent seemed to beckon a career in the concert hall, but he proved psychologically unsuited to being a concert pianist, owing to terrible anxiety that proved difficult to overcome as a boy. He turned instead to composition, an activity that he had always pursued privately. While still at Juilliard, he worked as a music counselor at an upstate camp, where some of his songs were performed; one of the songs he originally wrote for a show at the camp, "Travelin' Man," was recorded by Liza Minnelli on her debut album. However, Hamlisch's first hit came when he was 21 years old, from Lesley Gore, in the form of "Sunshine, Lollipops and Rainbows," which rode the Billboard charts for 11 weeks in 1965, peaking at number 13. (The song, in Lesley Gore's version, later figured prominently in a Simpsons episode parodying the film Thelma & Louise when the police chief puts some chase music on in his cruiser).
Minnelli helped Hamlisch land a spot as the arranger on the Broadway productions of Funny Girl and Fade In -- Fade Out, and it was in that capacity that he first made his way in the theater world. On Henry, Sweet Henry and later on Golden Rainbow, he arranged the dance music, while he also served as the rehearsal pianist for The Bell Telephone Hour on television.
Hamlisch broke into the movie business as a result of a party he attended where he overheard producer Sam Speigel saying that he needed music for a film adaptation of John Cheever's story The Swimmer. Hamlisch went to work on his own and presented the producer with a main theme and was engaged to do the score for the movie. He subsequently entered the orbit of Woody Allen during the latter's early days in cinema, writing the music for Allen's debut film, Take the Money and Run (1969), and his second movie, Bananas (1971). Hamlisch's other early film music efforts involved such movies as The April Fools, Save the Tiger, Move, Kotch, and Fat City, films that were more interesting to the critics than to the public, in terms of their impact -- his song from Kotch, "Life Is What You Make It," was also nominated for an Academy Award in 1971. He would have to wait a few years to become known by the public for his film music, but Hamlisch remained active in theater, writing the incidental music and dance arrangements for the musical comedy Minnie's Boys, a feature based on the early careers of the Marx Brothers. His connection with the Marxes became much closer when Hamlisch was chosen by Groucho Marx to be his pianist and straight man (sort of the successor to George Fenneman) in his stage act, which he brought to night clubs and college campuses.
The mid-'70s would prove to be Hamlisch's heyday as a composer and a major force in popular culture. In 1973, Hamlisch was engaged to score The Way We Were, a high-profile romantic drama starring Barbra Streisand and Robert Redford. Streisand initially balked at using Hamlisch's title song (authored with lyricists Marilyn and Alan Bergman); it became one of the singer's biggest chart hits, her first million-selling single, and one of her most recognizable songs. Not only did the song win the Oscar, but so did Hamlisch's entire score.
Having generated one of the biggest movie-related pop hits of the first half of the decade, Hamlisch pulled off an even more prodigious feat the next year with his score for The Sting. Built on the music of Scott Joplin, the music from The Sting helped spearhead a whole revival of interest in Joplin's work, which resulted not only in a hit album for Hamlisch (The Entertainer) but huge sales for rival recordings of Joplin's music by figures such as Joshua Rifkin, among others. Hamlisch also won his second Oscar for The Sting.
Hamlisch also ventured into composing music for television in 1975 with his theme music for two series that illustrated the range of the medium's vision at the time: Beacon Hill, a highly derivative series inspired by the success of the British class system drama Upstairs, Downstairs, and The Hot L Baltimore, an envelope-ripping sitcom (adapted from a play) about life at a seedy hotel populated by characters who, at the time, would have come from the wrong sides of most viewers' tracks. Neither lasted, but Hamlisch made a more significant contribution to the small screen in 1976 when he wrote the music for the NBC adaptation of John Osborne's The Entertainer, starring Jack Lemmon.
That same year, Hamlisch scored perhaps the biggest hit of his career with A Chorus Line, his very first attempt at writing a Broadway musical, co-authored with lyricist Edward Kleban. Opening on Broadway in May of 1975, it became the most successful musical of the decade, winning multiple awards in the bargain and running well into the '90s. One of the score's songs, "What I Did for Love," has been recorded hundreds of times by artists including Johnny Mathis, Kenny Rogers, Jim Nabors, and the Three Degrees. Hamlisch chose that point in his career to try and revive his performing career with a cabaret act that played well throughout the country and as a pianist in appearances with some of the country's major orchestras.
In between his performing career and his writing for the stage and screen, Hamlisch managed to work in appearances on albums by such diverse figures as Aretha Franklin, the Carpenters, and Peter Allen, among many others. Hamlisch scored another hit as a composer, albeit not of the dimensions of A Chorus Line, with They're Playing Our Song. Co-written with his wife, Carole Bayer Sager, it was a semi-autobiographical musical about a married songwriting team, which yielded a hit cast album as well. The couple also won an Oscar nomination for the song "Nobody Does It Better," written for the James Bond movie The Spy Who Loved Me (1977) and a Top Five hit single for vocalist Carly Simon. The early '80s saw Hamlisch as busy as ever, writing the music to the Neil Simon comedies Chapter Two, Seems Like Old Times, and I Ought to Be in Pictures, and the score for the dramatic period musical film Pennies from Heaven, as well as playing on his wife's albums. His music for the films Sophie's Choice, Ice Castles ("Through the Eyes of Love"), Same Time Next Year ("The Last Time I Felt Like This"), and Shirley Valentine ("The Girl Who Used to Be Me") was also nominated for Academy Awards. Hamlisch was somewhat less visible as a composer in terms of new work after the early '80s, but was a producer and arranger for recordings by John Williams and the Boston Pops Orchestra, Liza Minnelli, and Barbra Streisand in the '90s, among others. He continued to work with musical productions and as a conductor of many U.S. symphony orchestras until his death on August 6, 2012, a week before he was to be named Principal Pops Conductor of the Philadelphia Orchestra.
quarta-feira, 8 de agosto de 2012
- White On White
- Hello Dolly
- The Shelter Of Your Arms
- My True Carrie Love
- Beautiful Obsession
- Kissin' Cousins
- I Wish You Love
- I Want To Hold Your Hand
- My Heart Cries For You
segunda-feira, 6 de agosto de 2012
- Headin' Home
- Didn't We
- We Can Make It, Girl
- Someday We'll Be Together
- You're Mine
- Raindrops Keep Fallin' On My Head
- This Woman Is Mine
- One Day With You
- She Let's Her Hair Down
- All For You
quarta-feira, 1 de agosto de 2012
- Stranger In Paradise
- Shall We Dance
- You Do Something To Me
- So In Love
- The Sound Of Music
- What Kind Of Fool Am I?
- Hello Dolly
- Younger Than Springtime
- I Could Have Danced All Night
- Begin The Beguine
- True Love
- I Love Paris
- Getting To Know You
- This Nearly Was Mine
- Just In Time
- Out Of My Dreams
- Hey There
- Embraceable You
- Almost Like Being In Love
- I've Grown Accustomed To Her Face
- Mr. Wonderful
- We'll Gather Lilacs
- It's A Lovely Day Today
- Put On A Happy Face
- Some Day My Heart Will Awake
- Happy Talk
- A Lot Of Livin' To Do