sexta-feira, 31 de maio de 2013

Hank Jones - Porgy and Bess - Swingin' Impressions by Hank Jones

  1. Summertime
  2. There's A Boat Dat's Leavin' Soon for New York
  3. My Man's Gone Now
  4. A Woman Is A Sometime Thing
  5. Bess You Is My Woman
  6. It Ain't Necessarily So
  7. I Got Plenty O' Nuttin'
  8. I Can't Sit Down
  9. Bess Oh Where's My Bess
  10. I Ain't Got No Shame
Porgy and Bess

Hank Jones, piano
Kenny Burrel, guitar
Milt Hinton, bass
Elvin Jones, drums

quinta-feira, 30 de maio de 2013

Chick Corea - Jazz Masters 3

  1. You're Everything
  2. Lenore
  3. Space Circus - Part One
  4. Friends
  5. Night Streets
  6. Children's Song No. 15
  7. Spain
  8. Interplay
  9. Nite Sprite
  10. Light as A Feather
  11. Tweedle Dee
  12. Wind Dance
  13. My Spanish Heart
  14. Captain Marvel
Jazz Masters 3

Chick Corea has been one of the most significant jazzmen since the '60s. Not content at any time to rest on his laurels, he has been involved in quite a few important musical projects, and his musical curiosity has never dimmed. A masterful pianist who, along with Herbie Hancock and Keith Jarrett, was one of the top stylists to emerge after Bill Evans and McCoy Tyner, Corea is also one of the few electric keyboardists to be quite individual and recognizable on synthesizers. In addition, he has composed several jazz standards, including "Spain," "La Fiesta," and "Windows."  

Corea began playing piano when he was four and, early on, Horace Silver and Bud Powell were influences. He picked up important experience playing with the bands of Mongo Santamaria and Willie Bobo (1962-1963), Blue Mitchell (1964-1966), Herbie Mann, and Stan Getz. He made his recording debut as a leader with 1966's Tones for Joan's Bones, and his 1968 trio release (with Miroslav Vitous and Roy Haynes) Now He Sings, Now He Sobs is considered a classic. After a short stint with Sarah Vaughan, Corea joined Miles Davis as Herbie Hancock's gradual replacement, staying with Davis during a very important transitional period (1968-1970). He was persuaded by the trumpeter to start playing electric piano, and was on such significant albums as Filles de Kilimanjaro, In a Silent Way, Bitches Brew, and Miles Davis at the Fillmore. When he left Davis, Corea at first chose to play avant-garde acoustic jazz in Circle, a quartet with Anthony Braxton, Dave Holland, and Barry Altschul. But at the end of 1971, he changed directions again. 

Leaving Circle, Corea played briefly with Stan Getz and then formed Return to Forever, which started out as a melodic Brazilian group with Stanley Clarke, Joe Farrell, Airto, and Flora Purim. Within a year, Corea (with Clarke, Bill Connors, and Lenny White) had changed Return to Forever into a pace-setting and high-powered fusion band; Al DiMeola took Connors' place in 1974. While the music was rock-oriented, it still retained the improvisations of jazz, and Corea remained quite recognizable, even under the barrage of electronics. When RTF broke up in the late '70s, Corea retained the name for some big-band dates with Clarke. During the next few years, he generally emphasized his acoustic playing and appeared in a wide variety of contexts; including separate duet tours with Gary Burton and Herbie Hancock, a quartet with Michael Brecker, trios with Miroslav Vitous and Roy Haynes, tributes to Thelonious Monk, and even some classical music.  

In 1985, Chick Corea formed a new fusion group, the Elektric Band, which eventually featured bassist John Patitucci, guitarist Frank Gambale, saxophonist Eric Marienthal, and drummer Dave Weckl. To balance out his music, he formed his Akoustic Trio with Patitucci and Weckl a few years later. When Patitucci went out on his own in the early '90s, the personnel changed, but Corea continued leading stimulating groups (including a quartet with Patitucci and Bob Berg). During 1996-1997, Corea toured with an all-star quintet (including Kenny Garrett and Wallace Roney) that played modern versions of Bud Powell and Thelonious Monk compositions. He remains an important force in modern jazz, and every phase of his development has been well-documented on records. 

Corea began the 21st century by releasing a pair of solo piano records, Solo Piano: Originals and Solo Piano: Standards, in 2000, followed by Past, Present & Futures in 2001. Rendezvous in New York appeared in 2003, followed by To the Stars in 2004. The Ultimate Adventure was released in 2006. That same year, Corea released Super Trio with drummer Steve Gadd and bassist Christian McBride. In the spring of 2007, Corea released an unlikely but ultimately satisfying duet album with banjo master Béla Fleck entitled The Enchantment on Concord, followed by a Universal Japan-only six-disc box set called Five Trios in 2008 that showcased the pianist in a handful of different trio settings. The same year, Corea and vibraphonist Gary Burton released their fourth offering together, entitled The New Crystal Silence.  

The year 2008 was a busy one for Corea. He and John McLaughlin got together for the first time since they both played on Miles Davis' seminal Bitches Brew album. They pulled together a band with saxophonist Kenny Garrett, drummer Vinnie Colaiuta, and bassist Christian McBride for the recording Five Peace Band: Live (with another former Miles collaborator, Herbie Hancock, guesting on "In a Silent Way/It's About That Time"). Concord re-released Return to Forever's four albums issued between 1973 and 1976 (with Corea, White, Clarke, and DiMeola) -- Hymn of the Seventh Galaxy, Where Have I Known You Before, No Mystery, and Romantic Warrior -- as a precursor for a reunion tour. This resulted in both a live album entitled Returns, and a concert DVD. In 2009, Corea teamed with Japanese piano sensation Hiromi for Duet, followed by a live trio album entitled Forever with Clarke and White, culled from their "RTF Unplugged" tour. The two-disc set, issued by Concord in 2011, featured guest appearances by Chaka Khan, original RTF guitarist Connors, and violinist Jean-Luc Ponty. In 2012, Corea was busy from the start. He delivered a trio recording on Concord in January entitled Further Explorations; his sidemen were Eddie Gomez and Paul Motian (both members of various Evans' ensembles). Corea: The Continents Concerto for Jazz Quintet and Chamber Orchestra was issued by Deutsche Grammophone in February. In September, another duet recording with Burton, Hot House, was released by Concord. 

(By Scott Yanow from

Ivo Robic - Träume vom Glück

  1. Morgen
  2. Mit 17 fängt das Leben erst an
  3. Träume vom Glück
  4. Rhondaly
  5. Glaub daran
  6. Schau dich nicht um
  7. Rot ist der Wein
  8. So allein
  9. Tiefes blaues Meer
  10. Muli Song
  11. Ay,ay,ay Paloma
  12. Danke schön
  13. Es gibt nur einen Weg
  14. Ich weiß nicht mehr
  15. Liebe
  16. Das macht mir gar nichts aus
  17. Wer so jung ist wie du
  18. Jeder Tag
  19. Einsam wirst du sein
  20. Geh nicht vorbei
  21. Die Welt war schön
  22. Was wird bleiben
  23. Fremde in der Nacht
Träume vom Glück

Ivo Robić (29 January 1923 in Garešnica, Yugoslavia – 9 March 2000 in Rijeka, Croatia) was a Croatian singer and songwriter.

Robić began his career as a soloist with the Radio Zagreb Orchestra, while studying at the same time in Zagreb. He performed during World War II on "Krugovalna postaja Zagreb" in an Esplanade hotel in Zagreb.

During his career in what was then Socialist Republic of Croatia within Socialist Federal Republic of Yugoslavia, he made more than one hundred records, mostly singles and schlagers. In his own country, the most memorable of his many schlagers might be "Vraćam se Zagrebe tebi" (Coming Back to You, My Zagreb), "Ta tvoja ruka mala" (That Little Hand of Yours), and "Tiho plove moje čežnje" (Silent Sail of My Yearnings). But most of all, his song, schlager, "Samo jednom se ljubi", remains as maybe most famous song in ex-Yugoslavia countries i.e. Real Evergreen. One more thing in favour of that song. There is no other singer who had courage to sing that song in public or record it! It is unknown why "Samo jednom se ljubi" was not sung in other languages.

A pioneer of popular Yugoslav music from the early 1950s on, Robić was an artist who successfully pursued both domestic and international careers for almost half a century. When he began, he was the only artist from Yugoslavia whose records were available in the record shops of Europe and the rest of the world.

Robić was nicknamed "Mister Morgen" following the success of his first international hit, "Morgen" (which means "tomorrow"), in 1959. The optimistic song was the first collaboration between Robić and Bert Kaempfert. Following its success in Germany, the German-language version became a #13 hit on the pop chart in the United States, sold over one million copies, and was awarded a gold disc. An English version, "One More Sunrise", sung by Leslie Uggams, reached #98 on the same charts. It has also been performed by many other artists.

Robić was active in recording for Germany's Polydor label. He performed and collaborated with Kaempfert, Freddy Quinn, and Dean Martin. Of the Kaempfert composed international hit of 1966 Strangers in the Night he sung the Yugoslav and German versions Stranci u Noći with lyrics by Marija Renota and Fremde in der Nacht with lyrics by Kurt Feltz.

Robić's other international hits are "Muli-Song" (1960), "Mit 17 fängt das Leben erst an" (1960), "Ein ganzes Leben lang" (1962), "Rot ist der Wein" (1966), and "Ich zeig' dir den Sonnenschein" (1971).

(From Wikipedia, the free encyclopedia)

quarta-feira, 29 de maio de 2013

Bela Sanders Orchester - Charleston & Quickstep

  1. Yes Sir, That's My Baby
  2. So What' New
  3. Original-Charleston
  4. Pack Fast
  5. Ausgerechnet Bananen (Yes, We Have No Bananas)
  6. Hm, hm, du bist so zauberhaft
  7. Ain't She Sweet
  8. Who's Sorry Now
  9. Black Bottom
  10. Bye Bye Blackbird (Mädchen, warum weinest du)
  11. Crazy Daisy
  12. Mame

terça-feira, 28 de maio de 2013

Al Hirt - Jazzin' the Pops

  1. Spanish Eyes
  2. Unforgettable
  3. East of the Sun
  4. I'll Be Seeing You
  5. Red Roses for a Blue Lady
  6. Java
  7. Poor Butterfly
  8. Stardust
  9. Birth of the Blues
  10. Sugar Blues
  11. New Orleans
  12. Echoes of Harlem
  13. Strangers in the Night
  14. Trumpeter's Lullaby
  15. Imagination
  16. Deep Purple
  17. When the Saints Go Marching In
Jazzin' the Pops

segunda-feira, 27 de maio de 2013

Norrie Paramor and His Orchestra - Shadows in Latin

  1. Dance on
  2. Atlantis
  3. Foot Tapper
  4. Nivram
  5. F.B.I.
  6. Guitar Tango
  7. Peace Pipe
  8. The Rise and Fall of Flingel Bunt
  9. Wonderful Land
  10. Shindig
  11. Little Princess
  12. Stars Fell on Stockton
  13. Apache
  14. The Frightened City
Shadows in Latin

domingo, 26 de maio de 2013

Count Basie - Jazz Masters 2

  1. Big Red
  2. April in Paris
  3. Two Franks
  4. Shiny Stockings
  5. Royal Garden Blues
  6. Stereophonic
  7. Blue and Sentimental
  8. Every Day I Have the Blues
  9. Paradise Squat
  10. Kansas City Wrinkles
  11. Midgets
  12. K. C. Organ Blues
  13. Every Tub
  14. Polka Dots and Moonbeams
  15. Sent for You Yesterday
  16. One O'clock Jump
Jazz Masters 2

Billy Vaughn - Songs I Wrote

  1. Posters of Paris
  2. Israeli Nights
  3. Hello World
  4. Oriental Holiday
  5. Parisian Pastels
  6. Our Dream of Love
  7. Vayase
  8. Liebling Ich Bleib Noch Allein
  9. Making Other Plans
  10. The Campus Clown
  11. Strollin' the Rain
  12. Long Live This Love
Songs I Wrote

sábado, 25 de maio de 2013

Alexander's Banjo-Band - Keller Party

  1. Blue Skies
  2. Night and Day (Day in Day out)
  3. Bei mir bist du schön (Means That You)
  4. It's Only a Paper Moon
  5. September in the Rain
  6. Goody-Goody (Du hast immer nur an)
  7. There's a Small Hotel (Kleines Trau)
  8. Boo-Hoo (Buh-Huh - Ich möchte weinen)
  9. Marie
  10. Jealous Heart (Blaue Nacht am Hafen)
  11. Alexander's Ragtime Band (La Banda)
  12. Rosalie
Keller Party

Al Hirt - Honey in the Horn

  1. I Can't Get Started
  2. Java
  3. Man with A Horn
  4. Tansy
  5. Night Theme
  6. Talkin' Bout That River
  7. Fly Me to the Moon (In Other Words)
  8. To Be in Love
  9. Al Di La
  10. Malibu
  11. Theme from A Dream
  12. I'm Movin' On
Honey in the Horn

Honey in the horn - a trumpet of incredible sweetness - a lovely vocal group

HONEY IN THE HORN not only features a smooth and soulful vocal backing to Al Hirt's mellow trumpet, but is also Big Al's first album recorded in Nashville, Tennessee. Nashville is "Hitsville", the town that has given a country sound to pop music and flooded best-seller charts with hits.

But, perhaps better than anything else, an anecdote from one of the recording sessions will convey the feeling of what is in this album.

On one date, Al was scheduled to do I Can't Get Started, a perennial that most knowledgeable musicians feel should be left alone after Bunny Berigan's incomparable rendition. Especially wary was Louis Nunley, a member of the vocal chorus and a good trumpet player himself. When behemoth Hirt finished with that fine song, however, Nunley sat down and said, "I'll never pick up my horn again".

Besides his treatment of I Can't Get Started, trumpeter Hirt has given another milestone performance with another standard, Fly Me to the Moon. You'll agree that Al's version is pure poetry.

Al's instrumental support on this album consisted of some of Nashville's most heralded personnel: pianist Floyd Cramer, Boots "Yakety Sax" Randolph, Bob Moore on bass, Grady Martin and Ray Edenton on guitar, and-of course-the wonderful Anita Kerr Singers who provided Hirt with the first vocal backing to be used on any of his records. Anita also wrote the arrangements.

Everyone present at the sessions observed that as the album neared completion, there emerged a higher and higher exchange of respect and admiration between Big Al and the crew. This discerning group of musicians was, in short, impressed by Hirt's talent. And why not? Creations rests on inspiration. And Al's capacity for inspiration is as oversized as his physical frame.

(Anne L. Freels, from the original liner notes)

sexta-feira, 24 de maio de 2013

Louis Armstrong - Jazz Masters 1

  1. Just One of Those Things
  2. That Old Feeling
  3. I Got a Right to Sing the Blues
  4. Learnin' the Blues (with Ella Fitzgerald)
  5. Let's Do it (Let's Fall in Love)
  6. There's a Boat Dat's Leavin' Soon for New York
  7. Blues in the Night
  8. You're the Top
  9. Body and Soul
  10. When Your Lover Has Gone
  11. A Fine Romance
  12. Home
  13. I've Got the World on String
  14. I Was Doing All Right
  15. When the Saints Go Marchin' in
Jazz Masters 1

Wayne King His Saxophone and Orchestra - Dance Time

  1. Charade
  2. Red River Valley Waltz
  3. Medley Foxtrot
  4. Once Upon A Time
  5. Remember
  6. If I Loved You
  7. Ramblin'Rose
  8. Down in the Valley
  9. Scatter Brain
  10. Medley Foxtrot 2
  11. Through
  12. Good Night Sweetheart
Dance Time

quinta-feira, 23 de maio de 2013

Les Brown and His Band of Renown - A Sign of the Times

  1. Call Me
  2. Meditacao
  3. Tigertail
  4. I Wish You Love
  5. Corcovado
  6. Reza
  7. Strangers in the Night
  8. A Sign of the Times
  9. O Barquinho (Little Boat)
  10. My Love
  11. Insensatez (How Insensitive)
  12. It's Not Unusual
A Sign of the Times

To most people, music is a barometer of feeling, of the mood of a day, a time, a century. We feel this way, too. Because of this, we decided to do an album with today's sound, today's mood, literally A SIGN OF THE TIMES.

You see, recently I've been on tour with Bob Hope in Viet Nam, and at Army bases, on aircraft carriers, in hospitals, and I've discovered what most of you want to hear is music that is easy listening, with a contemporary beat, intimate in feeling. So, in this album we've gotten away from the old Band of Renown sound, and find that this relaxed, new approach of today is spontaneous and warm - sort of the mood achieved on the Dean Martin TV show with which we are associated.

Whether it's the exciting new South American beat of Reza, the smooth and subtle bossa nova Rhythms of How Insensitive or Little Boat, or the disarming treatment of It's Not Unusual, the tunes are the good tunes of today, and all are a reflection of our tempo of living. Some of you may want to dance, some will just want to listen ...but whatever you choose, you'll know we made this LP for you, today.

(Les Brown, from the original liner notes)

The Melachrino Strings and Orchestra - Music for Relaxation

  1. Berceuse de Jocelyn
  2. Autumn Leaves
  3. While We're Young
  4. Star Dust
  5. Portrait of a Lady
  6. Valse Bluette
  7. By the Sleepy Lagoon
  8. La Golondrina / The Swallow
  9. La Serenata
  10. Moonlight Serenade
  11. Vision d'Amour
  12. Estrellita
Music for Relaxation

It's time to relax. Let the big automobiles crawl along, bumper-to-bumper; let the airplanes drone overhead; let the trains rattle along the rails.

It's time to relax. To go loose all over.

Read the titles of the songs in this album, By the Sleepy Lagoon ...isn't that restful? Vision d'Amour... doesn't that feel good? Autumn Leaves... feeling drowsy?

There are lots more... twelve in all. And all equally soothing.

But you'll find that these are songs done in a manner to aid you in relaxation - not put you to sleep. They are lushly orchestrated and played by the Melachrino Strings and Orchestra in soft billows of sound.

This is music, too, for soft romance... first gentle hand-holding... music for just sitting and thinking about some day soon... music you can hum a few strains of, then sink back and let the orchestra do the rest.

In some far-off countries, people relax by standing stiff as ram rods, or by easing themselves onto a bed of nails, or by hanging from trees by their bent knees. Listening to Melachrino's superb essays on familiar themes certainly seems much more civilized.

A farmer may relax by leaning on the handle of his hoe and staring out over a field of softly swaying wheat; a plumber may relax by wedging his monkey-wrench into a firm position and sagging his weight onto the handle; a schoolteacher might rest a bit by giving her class a writing exercise while she unwinds to the steady whirring of the pupils' pencils.

Listening to this music is much easier.

And, if your phonograph can play it over and over again, you will be as loose as ashes by dinner time.

This recording is an excellent one for children. Its purpose with youngsters is two-fold: by listening, they are exposed to excellent music, stirringly played; and they are soothed into a lulling sense of security and rest. This latter purpose is extremely valuable following a hard day of play.

For anyone with half a musical ear, this album is worth its weight in blue-chip securities during the working day. All you have to do to still your jangled nerves is close your eyes a moment, hum one of the themes to yourself, and then imagine the rich swirl of the Melachrino Strings embellishing the theme. It can carry you through even the most staccato day.

But the best part of it all is, it's a record you'll want to play over and over for the music as well as the therapy.

And you don't hardly ever get that kind anymore these days.

(Ferris Benda, from the original liner notes)

Les & Larry Elgart - Sound of the Times

  1. I'm Coming Home Cindy
  2. A Sign of the Times
  3. Spanish Flea
  4. A Taste of Honey
  5. Michelle
  6. Batman Theme
  7. Going to Grandma's House
  8. Sloop John B.
  9. California Dreamin'
  10. Nowhere Man
  11. Why Not?
Sound of the Times

quarta-feira, 22 de maio de 2013

Brazilian Tropical Orchestra - The Greatest Hits of Chico, Toquinho, Vinicius

  1. O que Será (A Flor da Terra)
  2. Roda Viva
  3. Apelo
  4. A Tonga da Mironga do kabuletê
  5. Arrastão
  6. A Felicidade
  7. Chega de Saudade
  8. Água de Beber
  9. Canto de Ossanha
  10. Samba em Prelúdio
  11. Carolina
  12. Aquarela
  13. Com Açúcar, com Afeto
  14. Trocando em Miúdos
  15. Regra Três
  16. Tarde em Itapoã
  17. A Banda
  18. Apesar de Você
  19. Samba de Orly
  20. Olhos nos Olhos
  21. Vai Passar
The Greatest Hits

Ralph Dollimore - Music for a Special Evening

  1. Reflections
  2. The Fool on the Hill
  3. Here's That Rainy Day
  4. A Man and A Woman
  5. Kulta's Lullaby
  6. One Day Soon
  7. Shades of Blue
  8. Love Is Blue
  9. You and I
  10. Someone to Watch over Me
  11. Waltz for Debbie
  12. Sophia
For a Special Evening

Mood music is a generic and slightly vague and ill-defined phrase that has come into existence during the colossal expansion of the long-playing record market during the past fourteen years. It can be applied to a virtually unlimited range of styles and material played by virtually any size of combination, from a solo instrumentalist to an orchestra of concert or symphonic proportions.

This broad scope of meaning has caused a certain amount of both obscurity and condescension to surround the words 'mood music'. Another phrase, 'musical wallpaper', has gained currency, denoting superficial, undemanding and often nondescript musical fare which is supposed to act as a quiet soporific background to talking and eating without anyone really being conscious or aware that it is there at all, and certainly not listening to it.

Unfortunately a considerable number of LPs classified as 'mood music' fall within this humble and undistinguished category, and tend to stigmatise others that are infinitely superior in every respect such as the one within this sleeve. Mood music in its ideal and most developed from should entertain and stimulate its audience, and at the same time enable them to eat, drink and talk when necessary without distraction. It is not an easy formula to attain, but it represents mood music as it should be, and pianist Ralph Dolimore and record producer Walter Ridley have attained it with this album, assisted by the notable Studio 2 Stereo sound.

Ralph Dollimore, a well-known and widely respected pianist in British light, pop and jazz music, has been playing professionally since he completed his military service with the Royal Tank Regiment in 1951. Ralph is a confirmed jazzman by predilection, and has already starred in that role for a previous album, but his interest and aptitudes are not bounded by narrow, restrictive musical tastes or prejudice. He is a busy and sought-after musician for radio, TV and records, but manages to find time to lead the Ted Heath orchestra nowadays as a continuing entity amidst all his other engagements and commitments. For this LP, Walter Ridley teamed him with ten violins, four 'cellos, one French horn, bass and drums, and selected a well-balanced mixture of standards and originals to demonstrate both the Dollimore piano technique with orchestral support in the aural grandeur of Studio 2, and also the fact that mood music can be meaningful and of much greater value and significance than were wallpaper.

Ole Hoyer's Reflections provides a suitable pensive opening to the album, and is followed by one of the more recent inspirations from the pens of John Lennon and Paul McCartney, characterised by that unique Beatle flair for melody. Jimmy Van Heusen's telling account of love come to grief in Here's That Rainy Day is introduced by the horn before Ralph and the strings take the melody in turn. Francis Lai wrote a simple but memorable theme for a simple memorable film A Man And A Woman, and Ralph accords it a simple but memorable treatment, backed only by bass and drums. The strings and horns return for Kulta's Lullaby, a gently melodic Dollimore original with a relaxed jazz break for Raplh towards the end. The first side concludes with One Day Soon, another distinctive Francis Lai composition for the film I'll Never Forget What's 'is name.

Ralph wrote Shades of Blue, which reflects its title exactly, and the blue motif continues for André Popp's Love Is Blue, which receives an outstanding portrayal from drums in double tempo, a pizzicato pattern from the strings, and Ralph in jazz mood for the middle eight bars and beyond. You and I has a subtly lilting beat, with Ralph sharing thematic honours with the pizzicato violins. Ralph solos throughout George Gershwin's evergreen Someone To Watch Over Me, supported by bass and rums, and Waltz For Debbie shows charmingly that the young lady concerned is both pretty and jazzminded. The LP finishes with trombonist Laddie Busby's musical portrait of another young lady called Sophia, who is obviously of Latin descent and might even have the surname Loren.

This is music for a special evening, and eminently suitable, whether that evening is a romantic one for two, an occasion for a small dinner party, or the quieter wee small hours of relaxation after a big party. In fact, with equal propriety it could justly be called music to make any evening special.

(Nigel Hunter, from the original liner notes) 

Harry James and Buddy Rich - Take the 'A' Train

terça-feira, 21 de maio de 2013

Horst Reipsch und seine Combo - Klarinetten Zauber

  1. Glaub' daran
  2. Happy Wood-Worms
  3. La Golondrina
  4. Micky und Macky
  5. Moskauer Nächte (Mitternacht in Moskauer)
  6. Schwarze Augen (Dark Eyes)
  7. Sektlaune
  8. Slapstick
  9. Taiga-Dixie
  10. Alo Ahe (Aloha Oé - Aloa ohe)
  11. Echo-Blues
  12. Es war im Mai
Klarinetten Zauber

segunda-feira, 20 de maio de 2013

Ernst Jäger Orchester - Musical Welterfolge

  1. People Will Say We're in Love / Oklahoma / The Surrey with the Fringe on Top
  2. They Say It's Wonderful
  3. There's No Business
  4. With a Song in My Heart
  5. Tonight
  6. America
  7. Wouldn't It Be Loverly / Get Me to the Church on Time / On the Street Where You Live
  8. I Could Have Danced All Night
  9. I Love Paris
  10. C'est Magnifique
  11. Wunderbar
  12. Hello Dolly
Musical Welterfolge

domingo, 19 de maio de 2013

Oscar Peterson & Nelson Riddle

  1. My Foolish Heart
  2. 'Round Midnight
  3. Someday My Prince Will Come
  4. Come Sunday
  5. Nightingale
  6. My Ship
  7. A Sleepin' Bee
  8. Portrait of Jenny
  9. Goodbye
  10. Con Alma
  11. Maidens of Cadiz
  12. My Heart Stood Still
  13. Woody 'N You
Oscar & Nelson

The Nelson Riddle Orchestra was always great enough to play music for film and television soundtracks, and accompany the greatest of stars, including Louis Jordan, Frank Sinatra, Ella Fitzgerald, Peggy Lee, and Antonio Carlos Jobim, among many others. For the band to back up the 1963 version of the Oscar Peterson trio with bassist Ray Brown and drummer Ed Thigpen might have created some tension, with Peterson always wanting to cut loose and go over the top as opposed to the silky smooth sound Riddle favored. Fortunately, Peterson strikes a balance between playing it cool and lettin' 'er rip on this collection of standards with the dinner hour in mind. Though not exclusively subtle and romantic, Riddle and Peterson strike a golden bipartisan compromise in rendering these well-known American popular songs into quietly burning embers of pure delight. It's a predictable mix, but so warm and heartfelt that one has to commend the participants for allowing each other their own personal ideas without selling out. Riddle's contribution was to form a unique group, unfortunately all unattributed, of ten cellos (no violins or violas), five horns, three flutes, a harp, and a percussion section. No one section dominates, which is the beauty of the famed arranger/composer/bandleader's concept. Summarily, Peterson chooses to not clash with the instruments as he trades phrases while generally not playing along with them. This non-interruptive dialogue makes for communication that creates the best chemistry from a dynamic standpoint. In the case of "Come Sunday," Riddle's unadulterated chart of Duke Ellington's immortal composition finds Peterson in perfect sway, while separate and equal bluesy proportions of Count Basie-like melody earmark the easy swinging "Judy." There's more Basie included in the concise, three-minute "Someday My Prince Will Come" with good new lines from Peterson, while a great rendition of "A Sleeping Bee" recalls the Frank Foster years with Basie with lots of counterpoint as the cello tentet adds considerable depth to the proceedings. A pastoral mood hovers over "My Foolish Heart" with the your turn-my turn piano-orchestra's respectful trading of melody in full regalia, while the flute section takes the serene beauty image further during the Peterson-Gene Lees composition "Nightingale" and the always lovely "Portrait of Jenny." The version of "'Round Midnight" is an example of Peterson going off a bit on the arpeggiated side amongst a fairly stock horn chart, but utterly lovely, and not too creamy. Again -- this is not a soft and fuzzy overstrung effort dominated by cheese or cotton candy, but instead a quietly strong, rich, fully evocative set of great tracks that emphasize the undercurrent rather than the overflow of emotions. It is unusual in a starkly emotional sense of being, but the way all projects of this size and nature should be approached -- with taste, class, and a healthy portion of restraint.

(By Michael G. Nastos from 

sábado, 18 de maio de 2013

Orchester Jacques Romero - Melodien zum Träumen

  1. Moonlight Serenade
  2. Hörst du die Melodie
  3. Komm mit mir ins Land der Träume
  4. Maria
  5. True Love (Deine Liebe)
  6. Don't Cry for Me Argentina
  7. Je T'aime
  8. Die Hirtin
  9. Lebe wohl und Good-bye
  10. Ti Amo
  11. Kleine Insel
  12. Im Blauen Tal
Melodien zum Träumen

Oliver Nelson - Jazz Masters

  1. Hoe Down
  2. St. Louis Blues
  3. Patterns for Orchestra
  4. I Remember Bird
  5. A Typical Day in New York
  6. Penthouse Dawn
  7. One for Duke
  8. Complex City
  9. You Love But Once
  10. Full Nelson
  11. Ricardo's Dilemma
  12. Paris Blues
  13. The Sidewalks of New York
  14. Ballad for Benny
  15. Greensleeves
  16. Miss Fine
Jazz Masters

sexta-feira, 17 de maio de 2013

Chico O'Farrill Jazz Band - Tenderly

  1. Almendra
  2. Chico's Cha Cha Cha
  3. Tenderly
  4. Malagueña
  5. Rock and Roll Cha
  6. El Jamaiquino
  7. La Bella Cubana
  8. Madrid
  9. El Manisero
  10. Me Lo Dijo Adela
  11. Bahia
  12. El Choclo
  13. Perfidia
  14. El Bodeguero

Chico O'Farrill was right in the thick of the Afro-Cuban and Latin waves that hit jazz in the late '40s and '50s. His sophisticated writing for Latin big bands of the early '50s was often bold, brassy, and tense, yet he could also achieve a delicate, almost classical ambience in such pieces as "Angels' Flight" and work capably in larger forms (the groundbreaking "Afro-Cuban Jazz Suites").  

O'Farrill took up the trumpet while in military school in Georgia, returning to Cuba as a full-fledged jazz fan after hearing the top American big bands. He studied composition in his native Havana and led his own band there before moving to New York City in 1948, where he soon made a name for himself writing music for Benny Goodman ("Undercurrent Blues"), Stan Kenton ("Cuban Episode"), and Machito ("Afro-Cuban Jazz Suite"). From 1950 to 1954, O'Farrill made six fiery 10" albums of Latin and American big band jazz for Clef and Norgran, all of which have been reissued on a Verve two-CD set, Cuban Blues. He also appeared with his own band at Birdland and toured the U.S. Toward the end of the decade, he moved to Mexico City, returning to New York in 1965 to work as arranger and music director of the TV series Festival of the Lively Arts and to write arrangements for Count Basie. O'Farrill also put his classical training to use by writing pieces for symphony orchestra such as "Three Cuban Dances" and "Symphony No. 1." Though he continued to write pieces for Machito, Kenton, Gato Barbieri, and Dizzy Gillespie into the '70s, there were no recording sessions under O'Farrill's name from 1966 until 1995, when he came roaring back on the scene, his imagination and vigor miraculously intact, with the outstanding Pure Emotion CD (Milestone). He recorded two more strong albums for Milestone, the last being Carambola, released in October 2000. Eight months later, on June 27, 2001, Arturo "Chico" O'Farrill died while hospitalized in New York. 

(By Richard S. Ginell from

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