Count Basie and His Orchestra - Sweet Georgia Brown

Count Basie and His Orchestra - The More I See You - with Al Grey on trombone

Burt Bacharach - In Concert

1. Alfie / Do You Know the Way to San Jose
2. Walk on By
3. Come Touch the Sun
4. Raindrops Keep Falling on My Head
5. The Look of Love
6. Medley (Don't Make Me Over / Anyone Who Had a Heart / What's New Pussy Cat
7. This Guy's in Love with You
8. I'll Never Fall in Love Again
9. (They Long to Be) Close to You
10. Bond Street
11. A House Is Not A Home
12. Alfie
13. What the World Needs Now Is Love
14. Promises Promises
15. What the World Needs Now Is Love (Reprise)

In Concert

Henry Mancini - Our Man in Hollywood

1. Days of Wine and Roses
2. Walk on the Wild Side
3. Theme from The Wonderful World of The Brothers Grimm
4. Follow Me
5. Mr. Hobbs Theme
6. Seventy Six Trombones
7. Love Theme from Phaedra
8. Bachelor in Paradise
9. Too Little Time
10. Drink More Milk
11. Theme from Taras Bulba (The Wishing Star)
12. Dreamsville

Our Man in Hollywood

Robert Farnon and His Orchestra - The Songs of Britain - Stephen Foster Melodies

1. The British Grenadiers 
2. Drink to Me Only with Thine Eyes 
3. The Lincolnshire Poacher 
4. The Londonderry Air 
5. Strawberry Fair 
6. Annie Laurie (Lady Scott)
7. All Through the Night 
8. Early One Morning 
9. Jeanie with the Light Brown Hair
10. Swannee River
11. Deep River 
12. Camptown Races
13. Oh! Susanna
14. Come Where My Love Lies Dreaming
15. Sweet and Low 
16. Beautiful Dreamer
17. April in Paris 
18. Invitation Waltz 
19. Just One of Those Things 
20. Kiss Me Again 
21. Shadow Waltz 
22. Donkey Serenade 
23. Persian Nocturne 
24. The Waltzing Cat 
25. Proud Canvas 
26. Bird Charmer 
27. Jockey on the Carousel 
28. Westminster Waltz 

The Songs of Britain

Henry Mancini - Too Little Time - with Bill Watrous on trombone

Elizeth Cardoso, Zimbo Trio, Jacob do Bandolim - Ao Vivo no Teatro Joao Caetano - Vol. 2

1. Feitiço da Vila
2. Meiga Presença
3. Barracão
4. Texto Elizeth, Jacob do Bandolim, que apresenta seus músicos
5. Chão de Estrelas
6. Lamento
7. Tempo Feliz
8. Vou Partir / Água do Rio / Malvadeza Durão / Rosa de Ouro
9. Chega de Saudade
10. Texto de Jacob
11. Canção de Amor
12. Apelo
13. Carolina
14. Até Amanhã
15. Carinhoso
16. Está Chegando a Hora

Elizeth ao vivo - Vol. 2

In 1956, Cardoso signed with the Copacabana recording company (in spite of the attempts of Odeon and Sinter), through which she would release most of her hits for the following 20 years. Already a famous artist, Cardoso hosted several exclusive shows on different radios, including Audições Elizete Cardoso (Rádio Mundial) and Canta Elizete (Mayrink Veiga).  

Two years later, Cardoso was invited by Vinicius de Moraes to be the singer of an album of songs written by himself and Tom Jobim. Canção do Amor Demais became the first album of bossa nova, launching the new genre. The album was recorded for the label Festa, owned by Irineu Garcia. The label was specialized in recorded poetry, having produced albums in which authors read their poems, immortalizing the voices of such poets as Carlos Drummond de Andrade, Manuel Bandeira, Pablo Neruda, Nicollás Guillén, and others. Therefore, nothing was more natural for the label than to record another album with the poems by Vinicius de Moraes. Only it would be the first time that music would come into the picture. With the permission of Copacabana, Cardoso started to rehearse with Jobim and de Moraes. As the rehearsals were held at Jobim's home in Ipanema, they were later immortalized by de Moraes in "Carta ao Tom" ("Letter to Tom"): "Rua Nascimento e Silva, 107/Você ensinando pra Elizete/As canções de Canção do Amor Demais" ("107 Nascimento e Silva Street/And you were teaching Elizete/The songs of Canção do Amor Demais"). 

Immediately after the release, the most commented-upon track of the album was "Chega de Saudade," the first recording in which appears the revolutionary syncopation of João Gilberto's guitar (who also appeared on "Outra Vez"). In spite of Cardoso's remarkable interpretations, though, she came to record the same songs later, and better. That can be explained in part because earlier in that same day she accepted an invitation to perform for an Army division in the middle of a forest where she had to walk under rain and through the mud.  

In 1959, Cardoso recorded for the film Orfeu do Carnaval (Marcel Camus), also an important piece of the initial period of bossa nova (it derived from de Moraes' play Orfeu da Conceição), the songs "Manhã de Carnaval" (Luís Bonfá/Antônio Maria) and "Samba de Orfeu." The soundtrack, a top seller in several countries including the U.S. and France, unduly credits the actress Marpessa Dawn as the singer. 

After performances in Buenos Aires (Argentina) and Portugal, Cardoso launched one of her top-selling albums, Meiga Elizete, in which she was accompanied by the groups of Moacir Silva and Walter Wanderley. Elizete Interpreta Vinícius, dedicated to compositions by de Moraes, was another success. Produced by him and arranged by Moacir Santos, the album also was enthusiastically saluted by the critics.  

On October 12, 1964, invited by the conductor Diogo Pacheco, Cardoso interpreted Villa-Lobos' "Bachianas Número 5" at the Municipal Theater of São Paulo. When she finished the piece, the 1,800 people present at the event stood up and applauded for 15 minutes, asking for an encore. She stared at the audience and simply cried; perhaps thinking about her long career full of obstacles, financial hardships, and prejudices against her dark skin. But in the end she did the awaited encore. 

Praised by the whole press, her performance of a piece of the Brazilian icon of classical music was also heartily appreciated by Mindinha, the composer's widow, who gave her the sheet music and asked her to interpret Villa-Lobos' "Samba Clássico" in a future appointment. Cardoso's touching interpretation was repeated at the Municipal Theater of Rio de Janeiro, and so was the response of the audience; again 15 minutes of standing ovation and the insistent asking of an encore.  

In 1965, thrilled by the show Rosa de Ouro, idealized by Hermínio Bello de Carvalho, which launched Clementina de Jesus and brought again to the stage Araci Cortes, accompanied by Paulinho da Viola, Elton Medeiros, Jair do Cavaquinho, Anescar do Salgueiro, and Nelson Sargento, Cardoso communicated her intention to record all the songs of the show. Rehearsing each song with the instrumentalists, in June 1965 she recorded in just four days one of the masterpieces of the Brazilian popular music, Elizete Sobe o Morro. It represented the debut of Nelson Cavaquinho on record, both as a guitarist and singer. It was also the first time that Paulinho da Viola had one of his songs recorded. 

In that same year, Cardoso performed at the Cassino Estoril, in Portugal, and, upon her return, she was invited to host the TV Record show Bossaudade, which lasted for 18 months. In 1966, she participated in the Festival of Black Arts, in Dakar, Senegal, and in the next year, her album A Enluarada Elizete had the participation of Pixinguinha, Cartola, Clementina de Jesus, and Codó. In February 1968, Cardoso participated in the historic show at the João Caetano theater, produced by Hermínio Bello de Carvalho for the Image and Sound Museum, with the Zimbo Trio, Jacob do Bandolim, and his group Época de Ouro. The show was recorded live and released on two LPs.  

In the same year, Cardoso toured with the Zimbo Trio through Latin America. In 1969, she would be invited to participate, together with the Zimbo Trio, in the Inter-American Festival of Popular Music in Buenos Aires, Argentina. In 1970, she toured the U.S. with the trio. Five years later, Cardoso had enormous success in Paris, France, at the MIDEM. In 1977 and 1978, she toured Japan, and in 1979 she performed with the Camerata Carioca directed by Radamés Gnattali. The relationship with the Camerata would endure until her last recordings. In 1983, she performed again with the Camerata and Gnattali in the show Uma Rosa Para Pixinguinha, a tribute to Pixinguinha in the tenth anniversary of his passing, later released as a LP. In the next year, Cardoso opened the show Leva Meu Samba, a tribute to Ataulfo Alves in the 15th anniversary of his demise, which toured northeastern Brazil (Fortaleza, Recife, Maceió, Salvador, Feira de Santana, and Ilhéus) and was released as a LP in 1985. In 1986, she commemorated the 50th anniversary of her career with the show and LP Luz e Esplendor. In August of the next year, she toured Japan again with the Zimbo Trio, the Choro Carioca, and Altamiro Carrilho. In 1988, she was paid tribute at the ceremony of the I Sharp Prize Awards. In the next year, she performed with Raphael Rabello at the Seis e Meia project, in a show which brought the Divine again to the headlines. 

Already consumed by the cancer that would kill her, Cardoso still wanted to realize one of her old dreams, which was to record an album dedicated to the compositions by Ary Barroso. In spite of the interest of Hermínio Bello de Carvalho, there was no budget. Ary Amoroso was only produced through the sponsoring of a furniture factory. One cannot imagine that she was suffering pains during the recording sessions, as her voice was, as always, impeccable. The very Ary Barroso would probably repeat his own words describing her interpretation if he was alive, the reason why Bello de Carvalho remembered them in the liner notes: "Artista de raça. Voz suavíssima e convincente. Interpretação magnífica." ("A race artist. A sweetest and convincing voice. Magnificent interpretation.")  

(By Alvaro Neder from allmusic.com)

Elizeth Cardoso, Zimbo Trio, Jacob do Bandolim - Ao Vivo no Teatro Joao Caetano - Vol. 1

1. Ponteio
2. Suite Elizetheana
3. Cidade Vazia
4. Derradeira Primavera
5. Ginga Muxique
6. Nossos Momentos
7. É Luxo Só
8. Canção do Sal
9. Nós e o Mar
10. Mundo Melhor
11. Estrada Branca
12. Serenata do Adeus
13. Canção do Amor Demais
14. Tem Dó
15. Murmurando
16. Noites Cariocas
17. Texto Jacob sobre Descoberta de Elizeth em 1936
18. Mulata Assanhada
19. Texto Elizeth, Inconfidências sobre Jacob
20. Inocência
21. Foi numa Festa (Divinal)
22. Jamais
23. Feitio de Oração

Elizeth ao vivo - Vol. 1

In 1968, upon encountering economical difficulties, the Sound and Image Museum of Rio de Janeiro (MIS) conceptualized a show with Elizeth Cardoso backed by Jacob do Bandolim, his regional Época de Ouro, and the Zimbo Trio, directed by Hermínio Bello de Carvalho, to raise funds for their important work preserving culture. The historic show, which took place on February 19, 1968 (surrounded by enormous anxiety due to the proportions of the event and the struggle with budget limitations, not to mention a torrential summer rain that poured until two hours before showtime), was recorded and released on two LPs, of which this is the first. Saving tapes (that weren't new, blank ones), the two engineers of the MIS (Paulo Lavrador and Hamilton Córdoba) had to record in seven and a half IPS (instead of the professional 15 IPS) with modest two-channel equipment. The original sequence of the show was not preserved in the albums. This one starts with the show's opening "Elizetiana," as Carvalho called a selection of big hits by the singer that are interpreted by the Zimbo Trio. Elizeth Cardoso performed next with "Cidade Vazia" (Baden Powell/Luís Fernando Freire); the anxiety of the experienced singer was evident in her bad intonation the second time that she sang the verse, "Por isso, o jeito é lutar."  

But the passionate applause of the public by and by confirmed to the performers that they were participating in a night that would never be forgotten, a confirmation better expressed with the emotional singing along in "Barracão" (Luís Antônio/Oldemar Magalhães) (followed by a solo by the audience that complimented with an enthusiastic "Bravo!" by do Bandolim himself, who improvised with rare flexibility in this song). Cardoso's two highly emotional encores, both a cappella ("Serenata do Adeus" by Vinícius de Moraes and "Canção do Amor Demais" Tom Jobim/Vinícius de Moraes) were released on the second volume. The albums sold 80,000 copies and contributed notably to save the museum. In 1977 a third volume was released with the subtitle "Fragmentos Inéditos do Histórico Recital," and later the show was reissued on CD in its entirety. 

(By Alvaro Neder from allmusic.com)

Elizete Cardoso, the singer whose album Chega de Saudade launched the bossa nova, was also the first popular singer to interpret Villa-Lobos at the Municipal Theaters of São Paulo and Rio de Janeiro, and was considered by Almirante the best interpreter of Noel Rosa. Adored by Edith Piaf ("C'est merveilleuse! C'est merveilleuse!"), paid homage by Cartola (who wrote especially for her his famous samba-canção "Acontece"), and a most cherished artist by the Brazilian audiences, she was also known as "the Divina" (an alias given to her by Haroldo Costa and popularized by Vinicius de Moraes in his liner notes to Chega de Saudade).  

Her ample tessitura, capable of exploring faithfully both low and high registers, and her highly personal interpretation, full of a melancholy that witnessed the essence of an artist who experienced deep sadness in her life (along with all the rewards that success can bring), conveyed an unforgettable poetic density. In her almost 70 years of artistic activities, she performed a wide palette of genres, but her preference was for the samba. 

Born to a musical family, her father was a seresteiro (serenader) and her mother an amateur singer. At five, Cardoso debuted as a singer, performing at the rancho Kananga do Japão (a historical Carnival rancho founded in 1911). Having to work since very young, she had several small jobs until she was discovered by Jacob do Bandolim at the party for her 16th birthday, where he was brought to by her cousin Pedro, a popular figure among the musicians of the time. Enthusiastic about the young singer, Jacob do Bandolim took her to Rádio Guanabara, where she opened, on August 18, 1936, at the Programa Suburbano, with such artists as Noel Rosa, Vicente Celestino, Aracy de Almeida, and Marília Batista. Approved as a member of the cast, she started to perform there regularly at Tuesdays. Cardoso worked at several other radio stations, but she supplemented her earnings with performances in circuses, clubs, and cinemas. With Grande Otelo, she kept a duo for over ten years whose pièce de résistance was "Boneca de Piche" (Ary Barroso/Luís Iglésias). Always in financial difficulties, Cardoso got a job as a taxi-girl at the Dancing Avenida, where she also became a crooner in 1941. In 1945, she was hired by Júlio Simões to work in his dancing ballroom Casa Verde in São Paulo, where her fan club was expanded and came to include Adoniran Barbosa, the producers Vicente Leporace and Egas Moniz, and Blota Júnior, the A&R director of Rádio Cruzeiro do Sul. Cardoso worked there for one year and returned to her job at the Dancing Avenida, in Rio, as the crooner of the Orquestra de Dedé. Soon, she started to work at other dance ballrooms, like the Brasil, the Samba Danças, the Eldorado, and the Belas Artes. She was also, in that period, the crooner for the Orquestra de Guilherme Pereira.  

In 1948, Cardoso met Evaldo Rui, who would be instrumental in her artistic career (having also been her lover). Rui counseled her in terms of her performance and took her to Rádio Mauá, where she worked with her discoverer, Jacob do Bandolim. But, soon, she was hired by Rádio Guanabara, which reopened big time and decided to compete with the major radios, Nacional, Tupi, and Mayrink Veiga. 

In 1950, Ataulfo Alves got Cardoso an invitation to record for the first time, at Star. The first record though, with the sambas "Braços Vazios" (Acir Alves/Edgard G. Alves) and "Mensageiro da Saudade" (Ataulfo Alves), was withdrawn from circulation by the company due to alleged technical problems. But she was spotted at the Dancing Avenida by the composer Erasmo Silva, who was working for the Todamérica recording company, which would be opened in a few days. On July 25, 1950, she recorded through the new company "Complexo" (Wilson Batista), on the A-side, and "Canção de Amor" (Chocolate/Elano de Paula). The arrangements by the conductor Pachequinho for the latter song proved to be too complicated for the violinists; 12 of the 18 had to leave for their gig at Rádio Nacional, causing the song to go unrecorded. It was up to the outstanding saxophonist Zé Bodega to improvise the introduction and fill in the blanks.  

Surprisingly, the radios preferred to play "Canção de Amor." The result was immediate, with Cardoso being hired by Almirante to work at Rádio Tupi, the second most popular station in Rio. In the next year she debuted on TV, working on the first TV show of Rio de Janeiro (at TV Tupi), and in the cinema, in Coração Matrerno (Gilda de Abreu) and É Fogo na Roupa (Watson Macedo). Also in 1951, she was hired by Rádio Mayrink Veiga and by the Vogue club, recording in that year one of her biggest hits, "Barracão" (Luís Antônio/Oldemar Magalhães). In 1952, Cardoso worked on the film O Rei do Samba (Luís de Barros), and in the next year she had a signal of her rising prestige through an invitation to perform at the Golden Room of the Copacabana Palace, where just international artists were allowed (the only other Brazilians to perform there being Sílvio Caldas and Dorival Caymmi). But she preferred to perform at the Casablanca club, because the place was frequented by journalists. She opened there with the show Feitiço da Vila (dedicated to the songs by Noel Rosa and his partners) on June 8, 1953, and her strategy was successful, with enthusiastic reviews by renowned critics like Lúcio Rangel, Elsie Lessa, Vinícius de Moraes, Fernando Lobo, and others. 

In November, Cardoso recorded one of her few Carnaval hits, the marcha "Ai, Ai, Janot" (Pedro Alves/Gerson Filho/Antônio Filho). The song played with the fiasco of engineer Janot Pacheco, who had claimed to have discovered a chemical process to produce rain.  

The show Feitiço da Vila was opened in São Paulo with the same success of the Carioca season. But in September 1954, Evaldo Rui committed suicide, and the newspapers explored with sensationalism her role in the tragedy. Out of her suffering, she was invited to a 15-day tour of Uruguay, the first of a series of tours in that country. 

Still in 1954, Cardoso opened a show with Sílvio Caldas at the Oasis nightclub in São Paulo. According to the newspapers of the city, it was the most successful spectacle until then in the history of São Paulo.

(By Alvaro Neder from allmusic.com) 

The Lawrence Welk Show - Holiday for Strings (1978)

Ella Fitzgerald - The Irving Berlin Songbook - with Paul Weston and His Orchestra - Volume 2

1. Suppertime
2. How's Chances?
3. Heat Wave
4. Isn't This A Lovely Day (To Be Caught in the Rain)
5. You Keep Coming Back Like A Song
6. Reaching for the Moon
7. Slumming on Park Avenue
8. The Song Is Ended (But the Melody Lingers on)
9. I'm Putting All My Eggs in One Basket
10. Now It Can Be Told
11. Always
12. It's A Lovely Day Today
13. Change Partners
14. No Strings (I'm Fancy Free)
15. I've Got My Love to Keep Me Warm
16. Blue Skies

Irving Berlin Songbook 2

Ella Fitzgerald - The Irving Berlin Songbook - with Paul Weston and His Orchestra - Volume 1

1. Let's Face the Music and Dance
2. You're Laughing at Me
3. Let Yourself Go
4. You Can Have Him
5. Russian Lullaby
6. Puttin' on the Ritz
7. Get Thee Behind Me Satan
8. Alexander's Ragtime Band
9. Top Hat, White Tie, and Tails
10. How About Me?
11. Cheek to Cheek
12. I Used to Be Color Blind
13. Lazy
14. How Deep Is the Ocean?
15. All By Myself
16. Remember

Irving Berlin Songbook 1

Jacob do Bandolim - Disco 3

1. Assanhado
2. Feia
3. Bola Preta
4. Benzinho
5. A Ginga do Mané
6. O Vôo da Mosca
7. Ernesto Nazareth - 2o Movimento da Suíte Retratos
8. Chiquinha Gonzaga - 4o Movimento da Suíte Retratos
9. Vibrações
10. Receita de Samba
11. Ingênuo
12. Lamentos
13. Murmurando
14. Floraux
15. Brejeiro
16. Noites Cariocas
17. Modinha (com Orlando Silva)
18. Chega de Saudade

Jacob Disco 3

Melissa Vanema (trumpet) with Andre Rieu - Il Silenzio

Bob Havens (trombone) on the Lawrence Welk Show - Basin Street Blues (1981)

Jacob do Bandolim - Disco 2

1. Doce de Coco
2. Reminiscências
3. Entre Mil...Você!
4. Mimosa
5. Sapeca
6. Carícia
7. Santa Morena
8. Tira Poeira
9. Diabinho Maluco
10. Cochichando
11. Agüenta, Seu Fulgêncio
12. Sempre Teu
13. Implicante
14. Lábios que Beijei
15. Serra da Boa Esperança
16. Flor do Abacate
17. Chorando
18. Gostosinho
19. Noites Cariocas

Jacob - Disco 2

Jacob do Bandolim is one of the first names in the history of the choro genre. A serious and dedicated musician, he instilled a high degree of professionalism in the traditionally relaxed music -- even if he was never a professional himself (he made a living as a notary). He struggled to preserve Brazilian roots, and fought to impose his artistic sincerity on the music industry. He left important compositions that were incorporated in the repertory of chorões.

Jacob do Bandolim is one of the first names in the history of the choro genre. A serious and dedicated musician, he instilled a high degree of professionalism in the traditionally relaxed music -- even if he was never a professional himself (he made a living as a notary). He struggled to preserve Brazilian roots, and fought to impose his artistic sincerity on the music industry. He left important compositions that were incorporated in the repertory of chorões. 

The son of a middle-class family, do Bandolim followed formal studies until his completion of the accounting course of study. In 1930, when he was 12, he became strongly motivated by the music of a blind violinist who was his neighbor. Asking his mother to give him a violin, he left the bow of the instrument aside, picking the strings with hairpins. After many broken strings, his mother gave him a mandolin at the suggestion of another neighbor.

His first performance as an amateur was three years later, at the Grêmio dos Estudantes Israelitas. In December of that year, he performed for the first time on Rádio Guanabara. In those times, he was already a brilliant mandolinist, and also a good violonista (acoustic guitarist) and cavaquinho player. In the next year, he won his first important contest at Rádio Guanabara, invited by Benedito Lacerda. 

Accompanied by Carlos Lentine, Luís Bittencourt, Canhoto, and Russo do Pandeiro, his group was named Jacob e Sua Gente by the show director, and was awarded the maximum grade given by the professional jury in a contest disputed by other 27 participants. Jacob e Sua Gente became a regular on Rádio Guanabara, alternating with the Regional de Benedito Lacerda and the Gente do Morro group in the accompaniment of professional singers and musicians like Noel Rosa, Herivelto Martins, Dunga, Joel e Gaúcho, Elizeth Cardoso, Ataulfo Alves, Lamartine Babo, Araci de Almeida, and Carlos Galhardo. But do Bandolim never became a professional musician because he knew he would have lost his musical personality -- which was a very purist one. Instead, he held several jobs as a salesman or hawker, becoming a notary in 1940 and keeping that job until his death. In 1935, he joined the Conjunto da Rádio Ipanema, one of the three important groups of his life, initially directed by Mário Silva and later directed by himself. The group featured César Faria (after 1939) and Claudionor Cruz (violões, or acoustic guitars), Léo Cardoso (afoxê), and Candinho (drums). In 1943, by insistence of his future father-in-law, he abandoned his radio work, returning at the explicit desire of his wife, Adylia, in 1945 at Rádio Mauá. His first album was recorded in October 1947 with Continental (a company for whom he worked until 1949), having the hit "Remeleixo." In July 1949, do Bandolim moved to RCA Victor, recording eight albums until October 1950. From March 1951 on, for the next ten years, he was accompanied by the Regional do Canhoto. In July 1961, the recording of Chorinhos e Chorões marked the opening of the group Época de Ouro, the third important group of his life, and one of the most prominent of all time in the genre. The group used other names until the LP Vibrações, which was released in October 1967 and is considered one of the best of all time. Do Bandolim's imposed weekly rehearsals on Fridays and sometimes on Saturdays were rigorous. During those rehearsals the musicians sweated profusely, because the slightest mistake was accompanied by terrible admonishing in do Bandolim's resounding voice. In 1968, with Elizeth Cardoso (whom he introduced to the artistic scene), the Época de Ouro, and the Zimbo Trio, do Bandolim gave a concert at the Teatro João Caetano that was released on two albums by the Image and Sound Museum of Rio de Janeiro, and is considered one of the best shows of all time in Brazilian popular music. The American mandolinist Dexter Johnson organized a compilation of do Bandolim's solo work on two CDs with 43 tracks, Mandolin master of Brazil.  

(By Alvaro Neder from allmusic.com)

Arturo Sandoval - There Will Never Be Another You

Jacob do Bandolim - Disco 1

1. Noites Cariocas
2. Despertar da Montanha
3. Dolente
4. Pé-de-moleque
5. Simplicidade
6. Bonicrates de Muleta
7. Cristal
8. Mexidinha
9. Choro de Varanda
10. Vascaíno
11. Bole-Bole
12. Nostalgia
13. Odeon
14. Confidências
15. Atlântico
16. Faceira
17. Biruta
18. Migalhas de Amor
19. Alvorada

Jacob - Disco 1

Jacob Pick Bittencourt, mais conhecido como Jacob do Bandolim (Rio de Janeiro, 14 de fevereiro de 1918 — Rio de Janeiro, 13 de agosto de 1969) foi um músico, compositor e bandolinista brasileiro de choro. Filho do capixaba Francisco Gomes Bittencourt e da polonesa Raquel Pick, morou durante a infância no bairro da Lapa, no Rio de Janeiro.

São de sua autoria clássicos do choro como Vibrações, Doce de Coco, Noites Cariocas, Assanhado e Receita de Samba. Alcançou popularidade ao montar o conjunto Época de Ouro no início da década de 60, que permanece em atividade até hoje.

Morava em uma casa avarandada com jardim em Jacarepaguá (Rio de Janeiro), rodeado pelas rodas de choro e de grandes amigos chorões. Apesar de não ser um entusiasta do carnaval, gostava do frevo. Estudou no Colégio Anglo-Americano e serviu no CPOR; trabalhou no arquivo do Ministério da Guerra, quando já tocava bandolim. Por fim, Jacob fez carreira como serventuário da justiça no Rio de janeiro, chegando a escrivão de uma das varas criminais da capital.

Entre seus ídolos estavam Almirante (compositor), Orestes Barbosa, Noel Rosa, Nonô (pianista, tio de Ciro Monteiro e parente do cantor Cauby Peixoto), Bonfiglio de Oliveira, Pixinguinha, Ernesto Nazareth, Sinhô, Paulo Tapajós, João Pernambuco, Capiba e Luiz Vieira.

Em 1968 foi realizado um espetáculo no Teatro João Caetano (Rio de Janeiro) em benefício do Museu da Imagem e do Som do Rio de Janeiro. Com Jacob do Bandolim, A divina Elizeth Cardoso, Zimbo Trio e o Época de Ouro. A apresentação de Jacob tocando a música Chega de Saudade (Tom Jobim/Vinicius de Moraes) foi antológica. Foi lançado álbum com dois longplays (LP) da gravação original do espetáculo, em edição limitada. Foi "guru" de Sérgio Cabral (pai do governador do Estado do Rio de Janeiro,Sérgio Cabral Filho), Hermínio Bello de Carvalho, Ricardo Cravo Albin.

Teve um casal de filhos, sendo que um deles, era o jornalista polêmico (O Globo, Última Hora) e compositor Sérgio Bittencourt, já falecido. A sua filha Elena Bittencourt preside o Instituto Jacob do Bandolim.

Passou sua última tarde, no bairro de Ramos, em visita a seu amigo compositor e maestro Pixinguinha. Ao chegar à varanda da sua casa cansado e esbaforido, caiu nos braços de sua esposa Adília, já sem vida.

Quando criança, ainda no bairro da Lapa, Jacob ouvia um vizinho francês e cego tocar violino. Este acabou por ser, aos 12 anos de idade, seu primeiro instrumento. Por não se adaptar ao arco do violino, Jacob começou a tocá-lo usando grampos de cabelo. Pouco depois ele ganhou seu primeiro bandolim, um modelo de cuia, napolitano.

Jacob não teve professor, sempre foi autodidata. Treinava repetindo os trechos de músicas que ouvia em casa e na rua. Com 13 anos ouviu seu primeiro choro, tocado no prédio em frente a sua casa. A música era É do que há, composta por Luiz Americano.

Em 20 de dezembro de 1933, se apresentou pela primeira vez na Rádio Guanabara, ainda como amador, com o conjunto Sereno, formado por amigos. Tocaram o choro Aguenta Calunga, de autoria de Atilio Grany. Jacob, que nessa época ainda tocava de ouvido, não gostou de seu desempenho e decidiu praticar ainda mais.

Em 1934, Jacob se apresentou ao violão no Programa Horas Luzo-Brasileiras, na Rádio Educadora e no Clube Ginástico Português, acompanhando o violonista Antonio Rodrigues e os cantores de fado Ramiro D'Oliveira e Esmeralda Ferreira. A fase fadista não durou muito.

Ao se decidir pelo bandolim como instrumento Jacob iniciou sua carreira no rádio em 17 de maio de 1934, no Programa dos Novos, na Rádio Guanabara. O programa contava com um juri composto por, dentre outros, Orestes Barbosa, Francisco Alves e Benedito Lacerda. Jacob, que havia entrado no concurso sem pretensões profissionais, saiu vencedor, disputando com outros 28 concorrentes e recebendo nota máxima do juri.

Com a vitória no concurso da Rádio Guanabara, Jacob foi chamado para revezar, com o já consagrado conjunto de Benedito Lacerda, o Gente do Morro, no acompanhamento dos grandes artistas da época, entre eles, Noel Rosa, Augusto Calheiros, Ataulfo Alves, Carlos Galhardo e Lamartine Babo. Seu conjunto passou a se chamar então "Jacob e sua gente" e era formado por Osmar Menezes e Valério Farias "Roxinho" nos violões, Carlos Gil no cavaquinho, Manoel Gil no pandeiro e Natalino Gil no ritmo.

Com o sucesso na Rádio Guanabara Jacob passou a ser presença comum nos programas de rádio. Ganhava cache se apresentando em diversas rádios, como Rádio Cajuti, Rádio Fluminense, Rádio Transmissora (atual Rádio Globo, Rádio Mayrink Veiga, onde atuava no Programa do Casé, e na Rádio Ipanema, que virou Rádio Mauá e onde Jacob ganhou um programa só seu.

(Extraído da Wikipédia, a enciclopédia livre)

 

Gunhild Carling Big Band - Variety Show (2008)

Stan Kenton - Artistry in Bossa Nova

1. Artistry In Rhythm
2. Opus In Chartreuse
3. Interlude
4. Kentonova
5. Eager Beaver
6. Concerto To End All Concertos
7. Brasilia
8. Painted Rhythm
9. Opus In Pastels
10. Jump for Joe
11. Loco-Nova
12. Artistry In Bossa Nova

Artistry in Bossa Nova

Sherrie Maricle & The DIVA Jazz Orchestra - 76 Trombones

Waldo de Los Rios - Concerten

1. Concert No. 3 in C Voor Piano en Orkest 'Rondo' (Beethoven)
2. Concert in D Voor Hobo en Orkest 'Adagio' (B. Marcello)
3. Concert Voor Piano en Orkest No. 2 in C (Rachmaninoff)
4. Concert in D Voor Gitaar en Orkest 'Allegro' (Vivaldi)
5. Concert in E Voor Piano en Orkest 'Alegro maestoso' (Chopin)
6. Concert in ES Voor Trompet en Orkest 'Allegro' (Haydn)
7. Concert No. 20 in D Voor Piano en Orkest KV 466 'Romanza' (Mozart)
8. Brandenburger Concert No. 2 in F 'Allegro' (Bach)
9. Concert in D Voor Viool en Orkest (Tchaikovsky)
10. Concert in F Voor Piano en Orkest (Gershwin)

Concerten

Will Glahe and His Orchestra - Happy Days Are Here Again

1. Happy Days Are Here Again
2. Jeepers Creepers
3. Goody Goody
4. The Music Goes 'Round' and Around
5. Bei Mir Bist du Schön (Means that You're Grand)
6. Boo Hoo
7. By the Light of the Silvery Moon
8. Heartaches
9. Peg O' My Heart
10. Cruising Down the River (On a Sunday Afternoon)
11. And the Band Played on
12. Nola

Happy Days Are Here Again

Will Glahé (February 12, 1902 – November 21, 1989), was a German accordionist, composer, and bandleader.

Glahé was born at Elberfeld. In the 1930s, he was, along with Heinz Munsonius and Albert Vossen, one of the most successful accordionists in Germany. He led his own orchestra from 1932 and became successful particularly in popular music.

One of his most famous songs in Germany was his 1936 recording of "Rosamunde" (a German female forename), a cover version of the song "Škoda lásky" ("Wasted Love") by Jaromir Vejvoda. Under the title "Beer Barrel Polka", the tune hit #1 on the Hit Parade in the United States in 1939. After World War II he was known as the "Polka King" in the U.S., and did both big band and folk music arrangements with his orchestra.

His "Liechtensteiner Polka" was also a hit in the U.S., hitting #16 on the Billboard Hot 100 in 1957. The follow-up single "Sweet Elizabeth" (1958) appeared in all major U.S. charts, nearing the top 40 in Cashbox and Music Vendor.

He died in Rheinbreitbach.

(From Wikipedia, the free encyclopedia)

Delfeayo Marsalis - What a Wonderful World

Esquivel - Cabaret Mañana

1. Mini Skirt
2. Johnson Rag
3. Night and Day
4. El Cable
5. Harlem Nocturne
6. Mucha Muchacha
7. Time on My Hands
8. Malaguena
9. Guanacoa
10. Sentimental Journey
11. Estrellita
12. Limehouse Blues
13. Todavia
14. April in Portugal
15. Take the "A" Train
16. Question Mark (Que Vas a Hacer)
17. It Had to Be You
18. Yeyo
19. Lullaby of Birdland
20. Flower Girl from Bordeaux

Cabaret Mañana

Living Strings plus Trombone - Marie and Others Made Famous by Tommy Dorsey - Conducted by Geraldo

1. I'm Getting Sentimental over You
2. Chicago
3. Just As Though You Were Here
4. Song of India
5. East of the Sun
6. Marie
7. Embraceable You
8. Boogie Woogie
9. This Love of Mine
10. Opus 1

Marie

Living Strings Plus Trombone
Conducted by Geraldo
Orchestrations by Bernard Ebbinghouse and Geraldo
Produced by Ethel Gabriel
Solo trombone: Harry Roche
Recorded in England

"Yours for Sentimental Listening and Easy Dancing"

If you were somewhere between the ages of fourteen and twenty-five in the late 1930s or early 1940s, the phrase "big bands" may very well turn on a light in your heart or re-kindle a spark of understanding for today's young people and their music idols. You certainly remember the days when you glued yourself to the radio to hear the "live" dance-band shows, and wore out your parents' patience with phonograph music blaring far into the night. Talk about idols...you had the world of the big bands. And "big" was the word for them, both in number and in the kind of excitement they generated in those wonderful days of music. There were so many great dance bands around in those days that a list would go on and on. But topping any such list has to be T.D. - the Sentimental Gentleman of Swing, Tommy Dorsey. In a world of great music making, the Tommy Dorsey Orchestra stood out, gleamed as sweet and clear as the sound of the famous Dorsey trombone. So many of the melodies - the unforgettable tunes of those times - are forever associated exclusively with Tommy Dorsey. Now, the Living Strings, featuring Harry Roche on trombone, bring you some of the great songs made famous by Tommy Dorsey - yours for sentimental listening and easy dancing.

(From the original liner notes)

Oscar Peterson & Count Basie - Jumpin' At The Woodside

Bert Kaempfert e Sua Orquestra - Blue Midnight

1. Treat for Trumpet
2. Good Night, Sweet Dreams
3. LOVE
4. Blue Midnight
5. Love Comes But Once
6. Cotton Candy
7. Free As a Bird
8. Lonely Nightingale
9. Almost There
10. Java
11. Red Roses For A Blue Lady
12. Three O'Clock In The Morning

Blue Midnight

Bert Kaempfert - Memories

1. I'll See You in My Dreams
2. Plaisir D' Amour
3. I'm Gettin' Sentimental Over You
4. Secret Love
5. Without Your Love
6. Answer Me My Love
7. Dancing in the Dark
8. Moonglow
9. Unchained Melody
10. Stardust
11. There I've Said It Again
12. Solitude
13. When I Fall In Love
14. Where or When
15. I'll Get By (As Long As I Have You)

Memories

Ack van Rooyen (flugelhorn) and Paul Kuhn (piano) - Round Midnight

Bert Kaempfert - The Bert Kaempfert Story - A Musical Biography - Disc 2

1. Strangers in the Night - Frank Sinatra
2. Red Roses for A Blue Lady - Bert Kaempfert & His Orchestra
3. For Pete's Sake - Pete Fountain and Bert Kaempfert & His Orchestra
4. I Can't Help Remembering You - Dean Martin
5. A Swinging Safari - Bert Kaempfert & His Orchestra
6. Love for Love - Pat Boone
7. The Big Build Up - Bert Kaempfert & His Orchestra
8. Monte Carlo - Bert Kaempfert & His Orchestra
9. The Word We Knew - Anita Kerr Singers
10. My Prayer - Bert Kaempfert & His Orchestra
11. My Way of Life - Shirley Bassey
12. Las Vegas - Bob Parker and His Orchestra
13. Lonely Is the Name - Sammy Davis Jr.
14. Sweet Caroline - Bert Kaempfert & His Orchestra
15. L.O.V.E. - Nat King Cole
16. It's Only A Paper Moon - Bert Kaempfert & His Orchestra
17. You Turned My World Around - Frank Sinatra
18. Beddy Bye - Bert Kaempfert & His Orchestra
19. No A Go-Go - Bert Kaempfert & His Orchestra
20. The Times Will Change - Johnny Mathis
21. In the Everglades - Bert Kaempfert & His Orchestra

Kaempfert Story 2

Bamboleo! - The Best of Latin Ballroom

1. Never on Sunday
2. Guantanamera
3. Oye Como Va
4. Besame Mucho
5. Quiereme Mucho
6. Girl from Ipanema
7. Blue Bossa
8. Lambada
9. Bamboleo
10. Quando Quando Quando
11. La Bamba
12. Beautiful Maria

Bamboleo!