sábado, 29 de novembro de 2014

The Midnight Strings Orchestra - Reminiscing - Conducted by Syd Dale

  1. Native New Yorker
  2. Too Much Too Little Too Late
  3. Could It Be Magic
  4. You're All Alone
  5. Laughter in the Rain
  6. Reminiscing
  7. Nobody Does It Better
  8. Let's Put It All Together
  9. Whenever I Call You Friend
  10. Talkin' in Your Sleep
Reminiscing

sexta-feira, 28 de novembro de 2014

Caravelli - Dolannes Melodie

  1. Dolannes Melodie
  2. La Ballade des Gens Heureux
  3. Feelings
  4. Une Fille A Peau Brune
  5. Le Chanteur Malheureux
  6. At Seventeen
  7. Du Coté De Chez Swan
  8. J'ai Encore Reve D'elle
  9. Brasilia Carnaval
  10. Theme from Histoire d'O
  11. I'm Not in Love
  12. Your Hair
Dolannes Melodie


quinta-feira, 27 de novembro de 2014

Caravelli - Je L'aime À Mourir

  1. Je L'aime A Mourir
  2. Boogie Wonderland
  3. Le Dernier Slow
  4. Voulez Vous
  5. Quiereme Mucho
  6. Gloria
  7. Goodnight Tonight
  8. Ring My Bell
  9. Good Times
  10. J'ai le Coeur Grenadine
  11. Monday Tuesday
  12. Prelude de Soleil Levant
Je L'aime a Mourir

Nelson Riddle and His Orchestra - The Look of Love

  1. Hey There Lonely Girl
  2. And When I Die
  3. Can't Take My Eyes Off You
  4. The Wonder of You
  5. Love Grows (Where My Rosemary Goes)
  6. Tonight I'll Say A Little Prayer
  7. The Look of Love
  8. Rainy Night in Georgia
  9. In the Arms of Love
  10. Guantanamera
  11. Stay
  12. Until It's Time for You to Go
The Look of Love

The Conductor

quarta-feira, 26 de novembro de 2014

The New Reflections Orchestra - Moonglow

  1. Moonglow
  2. What the World Needs Now
  3. Maria
  4. Star Trek
  5. Suki Yaki
  6. Crystal Mountain
  7. Oh Babe What Would You Say
  8. Dallas
  9. A Fine Romance
  10. I Only Want to Be with You
  11. Angel of the Morning
  12. Emmerdale Farm
  13. My Funny Valentine
  14. Begin the Beguine
  15. Upstairs Downstairs
  16. The Days of Wine and Roses
Moonglow

sábado, 22 de novembro de 2014

Army Air Forces Overseas Orchestra - Farewell Performances - Conducted by Sgt. Jerry Gray

  1. I Sustain the Wings
  2. Tail-End Charlie
  3. In the Gloaming
  4. Homesick, That's All
  5. I Can't Give You Anything But Love
  6. Rhapsody in Blue
  7. Tuxedo Junction
  8. Oranges and Lemons
  9. American Patrol
  10. Swing Low, Sweet Chariot
  11. Sun Valley Jump
  12. Have You Got Any Gum, Chum?
  13. Autumn Serenade
  14. I Sustain the Wings (Alternate Version)
  15. In the Mood
  16. Stardust
  17. My Buddy
  18. In the Middle of May
  19. Moonlight Serenade
  20. My Blue Heaven
  21. Symphony
  22. The Air Corps Song
  23. Moonlight Serenade (Alternate Version)
Farewell Performances

The Conductor
(1915 - 1976)

The Unforgettable Bandleader

sexta-feira, 21 de novembro de 2014

Roger Williams - In A Latin Mood

  1. Amor
  2. Frenesi
  3. Guantanamera
  4. Cherry Pink and Apple Blossom White
  5. Summer Samba
  6. Cumana
  7. Temptation
  8. Jalousie
  9. The Girl from Ipanema
  10. Vaya con Dios
  11. La Montaña
In A Latin Mood


quinta-feira, 20 de novembro de 2014

101 Strings - Swingin' Things from 101 Strings

  1. Headin' Home
  2. Harlem Nocturne
  3. Durango
  4. Night Train
  5. Dansero
  6. Yes, Oh Yes
  7. Mood Indigo
  8. Spanish Harlem
  9. That Old Black Magic
  10. Misirlou
  11. El Bronx
  12. Street Scene
Swingin' Things

quarta-feira, 19 de novembro de 2014

101 Strings - Million Sellers of the 50's, 60's & 70's

  1. I Left My Heart in San Francisco
  2. Theme from "A Summer Place"
  3. Days of Wine and Roses
  4. Young at Heart
  5. Stranger on the Shore
  6. Cry
  7. Tennessee Waltz
  8. Melody of Love
  9. Moon River
  10. Nancy's Song
  11. Autumn Leaves
  12. Scarborough Fair
Million Sellers

terça-feira, 18 de novembro de 2014

Jean Lafontaine - Me and You - Vol. 7

  1. Excuse Me
  2. All in Love Is Fair
  3. You Make Me Feel Brand New
  4. Goodbye Yellow Brick Road
  5. Someday Somewhere
  6. Love's Theme
  7. Eres Tu (Touch the Wind)
  8. Let Me Try Again
  9. Me and You / No More Troubles
  10. Tu Nella Mia Vita
  11. Toró de Lágrimas / Teimosa / Anastácio
  12. She Made Me Cry
Me and You


Alfred Newman - Conducts Themes!

  1. Laura
  2. Invitation
  3. Again
  4. Catana (From 'Captain from Castile')
  5. Tammy, Tell Me True
  6. Love Is A Many Splendored Thing
  7. The Bad and the Beautiful
  8. Anastasia
  9. The Moon of Manakoora
  10. The Pleasure of His Company
  11. Back Street
  12. Pinky
Themes!

ALFRED NEWMAN... decano dos diretores musicais de cinema... conduz uma seleção pessoal de doze belíssimos temas de filmes. Estas são orquestrações ricas e extravagantes, na melhor tradição Newman... faiscando de virtuosidade instrumental... e com uma certa acentuação moderna sobressaindo na eficiente seção de ritmo.

Numa apresentação formal em 1954, a Sociedade Americana de Compositores e Regentes citou Alfred Newman por sua "excepcional contribuição à música americana". O prêmio foi a expressão oficial da alta estima que os colegas de Newman sempre lhe dispensaram.

O respeito da comunidade cinematográfica para com seu destacado diretor musical é talvez melhor demonstrado no total (recorde!) de oito Oscars e 41 nomeações que lhe conferiram. O magazine "Look" considerou Newman "o mestre da música 'intimista' em Hollywood". O cronista George Pratt escreveu simplesmente "ele construiu música que o mundo aplaude e guarda carinhosamente".

As melodias românticas, persistentes, nostálgicas das partituras de Alfred Newman têm enriquecido inúmeros filmes - o super-gavado Street Scene, O Morro dos Ventos Uivantes, Como Era Verde Meu Vale e A Canção de Bernadette, para citar algumas preciosidades. Neste LP, Newman oferece suntuosas performances de suas cinco favoritas: "Pinky", tema pungente de um drama estrelado em 1949 por Jeanne Crain; "Anastasia", majestoso refrão do Velho Mundo criado para o filme que trouxe Ingrid Bergman de volta ao cinema americano; "The Pleasure of His Company", melodia da sofisticada comédia que obteve grande êxito em 1961, com Fred Astaire; "The Moon of Manakoora", exótica balada do épico de Samuel Goldwyn sobre uma ilha dos Mares do Sul; "O Furacão" e "Catana", uma evocação sensual da Velha Espanha para o romance de capa-e-espada "Capitão de Castela".

Cada tema ilustra dramaticamente a fina intuição de Newman ao captar o período, o local e o caráter da história e o seu surpreendente talento para transpor esses diversos elementos em melodias divertidas, originais e inesquecíveis.

Newman apresenta ainda sete temas memoráveis da autoria de outros compositores, excelentes colegas seus. Davi Raksin está representado por seu eternamente belo "Laura" e "The Bad And The Beautiful"; Bronislaw Kaper por "Invitation" - extraordinário!; Frank Skinner por "Back Street" (Esquina do Pecado) na recente versão com Susan Hayward; e Dorothy Squires por "Tammy, Tell Me True". O irmão de Newman, Lionel, contribuiu com "Again", o popular sucesso de um melodrama de 1948 "Road House"; e da partitura de Newman vencedora do Oscar para o filme "Love Is A Many Splendored Thing" temos a canção-título composta por Webster e Fain.

Aqui estão os doze temas, prodigamente orquestrados - cada um de beleza imperecível; cada um iluminado pelo talento interpretativo de Alfred Newman, mestre-músico que contribuiu de maneira notável para uma forma singular de arte: a partitura para filmes.

(Texto extraído das notas originais do LP)

The Composer
(1901 - 1970)

segunda-feira, 17 de novembro de 2014

James Last and His Orchestra - Play The Music of Andrew Lloyd Webber

  1. With One Look
  2. Jesus Christ Superstar
  3. Memory
  4. I Don't Know How to Love Him
  5. Music of the Night
  6. Any Dream Will Do
  7. Love Changes Everything
  8. Don't Cry for Me Argentina
  9. Tell Me on A Sunday
  10. Take That Look of Your Face
  11. The Phantom of the Opera
  12. The Point of No Return
Plays Andrew Lloyd Webber

The Composer

The Conductor

Louis Armstrong - I Love Jazz (By requests)

  1. I'm Confessin' That I Love You
  2. Tiger Rag
  3. South Rampart Street Parade
  4. Jeepers Creepers
  5. When It's Sleepy Time Down South
  6. I Love Jazz
  7. St. Louis Blues
  8. Ain't Misbehavin'
  9. Chinatown, My Chinatown
  10. On the Sunnyside of the Street
  11. Muskrat Ramble
  12. Royal Garden Blues
I Love Jazz

Born in 1900, on July 4th - American Independence Day - Louis Armstrong was the greatest Jazz Ambassador of all time. The sound of his trumpet and gravel-voice have reached into every corner of the world, carrying the jazz message to all. So much so that the nickname "Satchmo", even in the remotest part of the globe, stands for an unbelievably unique combination of man and music which has become the very foundation of American folklore - in or outside of jazz.

On this album, Louis is featured on tunes that have become standards, not only in his own repertoire, but also in many jazz collections. "When It's Sleepy Time Down South" is perhaps the most performed by Satchmo because, being his theme music, it precedes and concludes all of his performances. "Ain't Misbehavin'", written by another jazz notable, "Fats" Waller, has also been in the Armstrong book for years. So has "Tiger Rag", Handy's "St. Louis Blues" and all the other tracks on this record. Truly a great collection of vintage Armstrong that you will enjoy.

(From the original liner notes)

The Incredible Satchmo

domingo, 16 de novembro de 2014

Nat King Cole - Cole Español (Canta Boleros)

  1. Cachito
  2. Maria Elena
  3. Quizas, Quizas, Quizas (Perhaps, Perhaps, Perhaps)
  4. Las Mañanitas (with mariachis)
  5. Acercate Mas (Come Closer to Me)
  6. El Bodeguero (Grocer's Cha-Cha)
  7. Arrivederci Roma
  8. Noche de Ronda
  9. Tu Mi Delirio
  10. Te Quiero Dijiste (Magic Is the Moonlight)
  11. Adelita (with the mariachis)
Cole Español

Nat "King" Cole sucumbiu às sonoridades de Cuba e, subjugado pelos ritmos do México e da América do Sul, canta em espanhol, a língua do coração.

Gravada na romântica e velha Havana pelo grande regente cubano Armando Romeu Jr. (1911 - 2002), esta música representa mais uma expressão - nova, inédita, encantadora - do estilo do incomparável - Nat "King" Cole.

(Texto extraído das notas originais do LP)

Nat King Cole - The Best of Nat King Cole (Repost)

  1. Fascination
  2. Autumn Leaves (Les Feuilles Mortes)
  3. Blue Gardenia
  4. To the Ends of the Earth
  5. This Can't Be Love
  6. Caravan
  7. An Affair to Remember (Our Love Affair)
  8. Love Is A Many Splendored Thing
  9. Never Let Me Go
  10. Tenderly
  11. Non Dimenticar
  12. Again
The Best of Nat King Cole

The Best of Nat "King" Cole

Tudo aqui é sucesso, a começar pelo intérprete, que sabe ser sucesso de cantor em qualquer gênero. Aliás, um crítico, em momento feliz, disse de Nat King Cole: "é mais que um cantor; é, antes, um estado d'alma quando canta". E, de fato: Nat é o próprio romance, é a voz ambiente, a voz ternura, a voz encantamento, a voz amor amando num banco de jardim, num trecho de praia; a voz aconchego, a voz coração - mesmo porque se coração cantasse, claro que cantaria com a voz de Nat King Cole, que é o próprio coração que canta.

Uma canção interpretada pelo grande cantor "colored" norte-americano é uma canção que se valoriza, que ganha cores novas e galga, enfim, os degraus da glória e fica, definitivamente, na memória auditiva dos povos. "Fascination", "Blue Gardenia", "An Affair to Remember", "Again", "Tenderly" e tantas outras "ficaram" para todo o sempre. Quem não se comove ao ouvir "Love Is A Many Splendored Thing" na interpretação de Nat? Seja num bar, seja numa festinha íntima, seja onde for, a sensibilidade que vive em nós imediatamente fica de olhar perdido, em completo estado de sonho... Pois, aqui, numa só gravação, você encontra os grandes sucessos de Nat King Cole! É um reencontro, portanto, com a ternura interpretativa de um dos maiores artistas do mundo. Uma gravação que não poderá faltar, em hipótese alguma, na sua discoteca. Uma gravação que você precisa ter sempre ao alcance da mão para seus momentos de lirismo no abismo da poltrona...

(Extraído das notas originais do LP)


The American musician Nat Cole (Nathaniel Adams Coles; 1919-1965) was beloved by millions as a singer of popular songs, but his forte was piano, in the "cool" jazz idiom.

Nathaniel Adams Coles, the youngest son of the Reverend Edwards Coles and Perlina (Adams) Coles, was born on March 17, 1917 (St. Patrick's Day), in Montgomery, Alabama. Cole and his family were moved to Chicago, Illinois, in 1921 by his father, who served as pastor of the Truelight Spiritual Temple on the South Side of Chicago. By the time he reached the age of 12, Cole was playing the organ and singing in the choir of his father's church under his mother's choir direction.

He took piano lessons "mostly to learn to read, you know. I could play more piano than the teacher." Infatuated with show business, Cole formed his own big band, the Rogues of Rhythm, joined by his older brother Eddie, previously bassist with Noble Sissle's orchestra. First recordings of the Rogues, for Decca Records, are now collector's items.

Working with the band in Chicago nightclubs and dance halls enabled Cole to develop both as a pianist and a singer. He was early influenced by the piano styling of Earl Hines and Jimmy Noone's band. Of Noone's theme song, "Sweet Lorraine," he said, "Man, that was the first song I ever sang." The tune, written by the New Orleans clarinetist Mitchell Parish, became a Cole classic.

Leaving the Chicago circuit, Cole and the band joined the Shuffle Along show scheduled to play the West Coast. Brother Eddie declined the engagement and Cole went along to California where, in 1937, he met and married Nadine Robinson, a chorus girl with the show. When the show folded, he and the band played a short-lived booking at the Ubangi Club in Maywood. "Old musicians never die; they just run out of gigs," said Louie Armstrong once, and when Cole's Ubangi gig was over the band broke up and he went on to do a solo act at the Century Club. From the Century, Cole was hired by Bob Lewis, owner of the Swanee Inn in Hollywood. Lewis insisted on a trio. The booking was for two weeks, but lasted six months.

The Genius of Cole, Moore, and Miller

Cole's first bass player, later to be replaced by the legendary Johnny "Thrifty" Miller, was Wesley Prince, who introduced him to Oscar Moore, a movie studio-guitarist. Although the phenomenal Moore was replaced years later by the excellent guitarist Irving Ashby, the trio reached its apex with the combination of the genius of Cole, Moore, and Miller.

The trio wove a fabric of blues licks, riffs, runs, arpeggios, and scalewise invented melodies, classically composed in an original and precise musical logic, as if nothing were left to chance, when, in fact, every note was a calculated risk controlled by the artists' innate rhythmic, harmonic, and melodic sensibilities - absolute freedoms contained by absolute rules of the musical art. Head arrangements were worked up from sheet music in rehearsals, but were not written down. Rehearsal time nods of the head by Cole signaled Moore and Miller and resulted in smooth transitions from piano to guitar solos and piano-guitar riffs, in the Benny Goodman mode. The three musicians each possessed exceptional improvisational melodic gifts which melded original inventions with jazz conventions.

Their harmonic genius added to a constantly swinging rhythm rooted in Miller's unswerving bass line and Moore's driving four to the measure chordal accompaniment - a beat which inspired the envy of contemporary big bands. Cole's accompaniment style, which backed up Moore's improvisational guitar lines and his own singing, was characterized by piano bass-note rockers and comped (chopped) chords executed by the left hand against exquisitely tasteful fill-ins executed by the right hand.

The trio was an original of the jazz combo which prepared future audiences for the small ensembles later to emerge as a consequence of economic retrenchment in the music industry, causing the demise of the big bands on the road circuit at a time when live radio and television broadcasting costs, too, became, for a while, prohibitive of orchestration on the grand scale.

Legend has it that upon an occasion of Cole's after-hours venture into vocalization with the previously predominantly instrumental trio, a young woman present in the club figuratively crowned him the "King," an affectionate nickname which stuck ever after. Among the "Counts" of Basie and the "Dukes" of Ellington, the title of "King" was reverential and emphasized Cole's high place in the enduring art and history of jazz.

After the Swanee Inn, the trio worked night spots in Hollywood and its environs; later, in Chicago, they played on the same bill with the Bob Crosby band and cut eight sides with Decca, including an early rendition of "Sweet Lorraine," one almost identical to their eventual hit on the Capital label. Moving on through Washington, D.C., they arrived in Manhattan in 1941 to play Nick's in Greenwich Village, Kelly's Stable (uptown), and one week at the Paramount, but the pay was "slim pickens," impelling the trio to return to the West Coast, where they played the 331 Club followed by a 10-week tour of Omaha and a return engagement at the 331 for almost a year, which got them through the winter of 1943-1944.

Lean times were followed by big hits. With the arrival of the spring of 1944 came a second Capital recording of "Straighten Up and Fly Right" and, on the flip side, "I Just Can't See for Lookin'," a novelty lyric derived from an old preacher's joke that Cole had composed and set to music about a buzzard who took a monkey for a ride. With personification came gratification and a series of hits: "Gee, Baby, Ain't I Good to You?" "Bring Another Drink," "If You Can't Smile and Say Yes," "Shy Guy," and then, two real winners, "Frim Fram Sauce" and "Route 66."

Constantly together on the road, Cole, Moore, and Miller lived and breathed their music at work and at play, until they played as one. Most often Cole sang solo, but some tunes were rendered in a unison band chant. His piano talent, synthesized from cross-fertilization of Earl "Fatha" Hines, Fats Waller, Frankie Carl, Count Basie, Fletcher Henderson, Mel Powell, and Teddy Wilson, was the bridge between the preceding style of Art Tatum and the styles to follow of George Shearing and Oscar Peterson. This lineage is, perhaps, best exemplified in Cole's solo rendition of "Body and Soul." Such is the family way in which jazz musicianship develops: first imitation and then innovation; first convention and then invention. Moore had picked up a few tricks along the way from Django Rinehardt, Eddie Lang (Salvatore Mussaro), Charley Christian, and Danny Perri; Miller had profited from listening to "Slam" Stewart and "Bobby" Haggert - but the trio's synthesis was original.

Huge Success as a Single

Cole and some of his Californian friends, including songwriter-singer Frankie Laine, prepared original compositions for what proved to be a successful concert tour, but as success mounted, so the jazz lessened and the popular vocalization increased, and so, too, the trio faded into the background, sometimes appearing with full orchestra in concerti sections; sometimes not appearing at all. With his recording of Mel Torme's "Christmas Song," a new career was launched for Cole which left little room for Moore and Miller; the trio broke up, to be restaffed later on by Cole for occasional gigs. Unfortunately, new success marked the end of old friendship.

There are three major lineages in modern American popular singing. The earliest is the Neapolitan School, which resulted from a fusion of Al Jolson's and Carlo Buti's styles by Russ Columbo, who was the leader in a family of crooners including Harry Lillis "Bing" Crosby, Buddy Clark, Perry Como, Dean Martin, and Elvis Presley. The second, the Big Band School, traded Rudy Valley's megaphone for the more sensitive microphone and includes Bob and Ray Eberly, Frank Sinatra, Vic Damone, Steve Lawrence, and Jack Jones. The youngest of the three pre-rock schools is the Cool School, deriving from the harsher toned ancestry of Louis Armstrong, Jimmy Rushing, and Louis Prima to culminate in the smooth, relaxed delivery of Cole, who established a style out of which others grew, including the styles of Mel Torme, Johnny Ray, Johnny Mathis, Oscar Peterson (whose similarity of style with Cole's caused a lifetime contract between them requiring Peterson to refrain from singing), Frankie Laine, Tony Bennett, early Ray Charles, and later, John Pizzarelli, Jr. (son of Bucky).

After seven film contracts with the trio, a long-term contract with the NBC Kraft Music Hall, recording contracts with Decca and Capital, top-ten hits, Metronome Poll awards, Gold Piano and Silver Singing Esquire awards, and a Gold Esquire Guitar award for Moore; after the constant friendship, the countless one-night stands, the concert engagements, and the fame and the fortune, the trio gig was up and Cole was on his own.

Cole never belted a song in his life, but depended on interesting subtleties of vocal timbre and texture and the art of nuance. Even Sinatra admired his intonation. Cole never sang a sour note in his life. He well knew how to hold the vowels and let go of the consonants. He was master of the art of understatement and knew how to capitalize on brief spaces of pregnant silence, as dramatically important to music as sound itself. He mastered the art of rubato, which resulted in an intricate ability to phrase a melodic line and tell a lyric story. The consummate jazz artist became the consummate balladeer, the singer of art and folk songs of the future, an American troubadour.

Cole bought a home in Los Angeles - "my own home," he said, but two lives spent in show business had led to divorce from Nadine. He married for a second and last time to singer Marie Ellington, who, although not related, sang with Duke Ellington's band. He and Marie had three daughters: Carol, Timlin, and Natalie. Natalie followed in her father's swinging footsteps.

After the successes of "Dance, Ballerina, Dance," "Nature Boy," and "Lush Life," there came the sudden and most sad end to the artist's life and the beginning of a landmark of native American music. The sound quality of Cole's voice derived not only from his broad Southern dialect (the vowel sounds almost Italian in pronunciation), his impeccable ear, the microphonic amplification of his tone color, his idiosyncratic pronunciation of "I", or from his velvet falsetto, but also from his cigarette smoking. On a WNEW New York interview shortly before his untimely death in 1965 by throat cancer, he was asked by host William B. Williams how he could smoke so much and still be a singer. Cole responded by saying he had learned two things, the first thing being that the choice of the right key for a song meant everything, and the second being that smoking helps a singer get a husky sound in his voice that the audience loves - "so, if you want to sing, keep on smoking."

When Cole died, a consummate jazz artist and a voice millions knew as the voice of a friend was irreplaceably lost to the world.

(From Answers.com)

sexta-feira, 14 de novembro de 2014

Harry James - More Harry James in Hi-Fi

  1. The Mole
  2. Autumn Serenade
  3. Sleepy Time Gal
  4. Crazy Rhythm
  5. Melancholy Rhapsody
  6. September Song
  7. Carnival
  8. Strictly Instrumental
  9. Blue Again
  10. Don Cha Go Way Mad
  11. These Foolish Things
  12. Somebody Loves Me
  13. Street Scene
More in Hi-Fi

 The Bandleader

quarta-feira, 12 de novembro de 2014

Acker Bilk - The Fabulous Mr. Acker Bilk - Disc 2

  1. Dardanella
  2. Sweet Georgia Brown
  3. Gladiolus Rag
  4. Nature Boy
  5. South Rampart Street Parade
  6. Slab's Blues
  7. Jump in the Line
  8. Misty
  9. Times A-Wastin'
  10. Boodle-Am-Shake
  11. Mama Told Me So
  12. Delia's Gone
  13. What A Wonderful World
  14. Someday You'll Be Sorry
  15. Franklin Street Blues
  16. My Journey to the Skies
  17. Burgundy Street Blues
  18. Going Home
  19. Liza (Open up the Door)
  20. Travellin' Blues
The Fabulous - Disc 2


Acker Bilk - The Fabulous Mr. Acker Bilk - Disc 1

  1. Wolverine Blues
  2. I'm an Old Cowhand
  3. Marching Through Georgia
  4. Stranger on the Shore
  5. Under the Double Eagle
  6. There'll Be Some Changes Made
  7. Norwegian Wood
  8. Blaze Away
  9. Gee Baby, Ain't I Good to You
  10. Hiawatha Rag
  11. Aria
  12. Acker Bilk A-Rovin'
  13. Bloodshot Eyes
  14. Nobody Knows You (When You're Down and Out)
  15. Honeysuckle Rose
  16. Georgia on My Mind
  17. Sometimes I'm Happy
  18. September in the Rain (Live)
  19. Stompin' at the Savoy (Live)
  20. Travellin' On
The Fabulous - Disc 1

Acker Bilk - "The Golden Treasury of Bilk" - With The Leon Young Strings

  1. Stranger on the Shore
  2. Sentimental Journey
  3. Greensleeves
  4. Babette
  5. Only You
  6. Shenandoah
  7. It Had to Be You
  8. Petite Fleur
  9. Louise
  10. Fancy Pants
  11. La Mer
  12. The Very Thought of You
  13. Moon River
  14. Summer Set
  15. I'll Be Around
  16. Bustamento
  17. A Taste of Honey
  18. Ain't Misbehavin'
  19. Strangers in the Night
  20. I'm in the Mood for Love
  21. Bird in the Park
  22. Skye Boat Song
  23. Honeysuckle Rose
  24. La Paloma
  25. I Left My Heart in San Francisco
The Golden Treasury

In Memoriam
(1929 - 2014)

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