Lafayette - O Eterno Rei Dos Bailes - 14 Grandes Sucessos

1. Yesterday
2. Michele
3. Only You
4. Hey Girl
5. Café Da Manhã
6. Força Estranha
7. Estou Completamente Apaixonada
8. A Janela
9. Detalhes
10. Debaixo Dos Caracóis Dos Seus Cabelos
11. Quero Que Vá Tudo Pro Inferno
12. Vivendo Por Viver
13. Fé
14. Lady Laura

O Eterno Rei Dos Bailes

In Memoriam

(1943 - 2021)

David Rose and His Orchestra - Lovers' Serenade

1. Serenade in the Night
2. Donkey Serenade
3. Serenade
4. Penny Serenade
5. Serenade to A Lemonade
6. Penthouse Serenade
7. Lovers' Serenade
8. Moonlight Serenade
9. Puppet Serenade
10. The Gaucho Serenade
11. Serenade in Blue
12. Sunrise Serenade

Lovers' Serenade

The George Shearing Quintet - Touch Me Softly - With String Choir

1. Just Imagine
2. The Blue Room
3. You're Blasé
4. Wait for Me
5. Try A Little Tenderness
6. Suddenly It's Spring
7. Be Careful, It's My Heart
8. Sunday, Monday, or Always
9. Lollipops and Roses
10. Just As Though You Were Here
11. Touch Me Softly
12. In A Sentimental Mood

Touch Me Softly

Nat King Cole Sings / George Shearing Plays - With the Quintet and String Choir

1. September Song
2. Pick Yourself Up
3. I Got It Bad and That Ain't Good
4. Let There Be Love
5. Azure-Te
6. Lost April
7. A Beautiful Friendship
8. Fly Me to the Moon
9. Serenata
10. I'm Lost
11. There's A Lull in My Life
12. Don't Go
13. Everything Happens to Me
14. The Game of Love
15. Guess I'll Go Back Home

Both Nat King Cole and George Shearing have enriched the world with marvelous music-making for a considerable while, without ever pairing up professionally. Here they extend a friendly acquaintance of long standing into some never-to-be-forgotten musical teamwork.

In two relaxed and easy pre-recording sessions, Nat and George ran through each memorable number together. Nat contributed ideas, while George worked out the arrangements, investing each with fabulous Shearing touch. These were then orchestrated by the album's gifted conductor Ralph Carmichael.

The scores were designed as lilting backgrounds for Nat's warm, romantic style, sparked by swingingly creative punctuations by George and the Quintet. Nat sings, as he has always sung, with a deeply masculine gentleness that is intimately expressive of the language of love. Backed by the Quintet and string choir, he gives rich meaning to such haunting ballads as A Beautiful Friendship, September Song, Azure-Te, and exciting new arrangements of two songs that Nat made famous in earlier versions: I'm Lost and Lost April.

At the time of their births the chances of the two principals' in this lively and appealing album ever meeting, let alone combining forces in such an entrancing set of performances, would have been considered so remote as to be statistically insignificant. And on the face of it, what happened here probably should not have happened at all, for the two men could not have had more widely different backgrounds. The singer, Nat "King" Cole, black, son of a Baptist minister, had been born March 17, 1917, in Birmingham, Ala., but was raised in Chicago where his family moved when he was still a youngster. The pianist, George Shearing, white, blind from birth, had been born on August 13, 1919, in London, England, where he was reared, studied music at The Linden Lodge School for the Blind, and spent the first three decades of his life. so, not only were the two distanced - and widely - by geography, but by profound cultural differences as well.

The likelihood of their paths ever crossing was slim indeed, but cross they did, and often enough so that, in time, it came to seem inevitable that one of those meetings would be memorialized on record. You hold the results in your hand. And while it would be fatuous to suggest they were somehow fated to make this album together, the incontrovertible fact is that with each passing year - as the two came of age, began pursuing careers in music, gained increasingly in experience, proficiency, mastery and, finally, great popularity - that eventually came ever closer of being realized. The actuality took place in December of 1961 under the auspices of Capitol Records, to which both men were under contract, when at four recording sessions held on successive days the present set of performances was undertaken.

The common ground on which the two met was jazz, that vital and absorbing expressive idiom which is one of the glories of American music. Not only did Cole and Shearing share a deep commitment to this music, but each had perfected a singular mastery in its performance. Cole, let us not forget, had started his career as a jazz pianist and was well on the way to becoming one of the truly great ones until his accelerating success as a popular singer gradually led to his putting aside this aspect of his talents. As a young piano student in Chicago, he had been drawn to the music, and specifically to the playing of Earl "Fatha" Hines, one of the most brilliant, original and influential pianists in all of jazz history. Fired by Hines' compelling, audacious music, Cole set about mastering the rudiments of jazz piano, assimilated a number of other influences, and by the late 1930s had fashioned a mature, distinctive approach of his own, light, graceful and swingingly melodic - much like Teddy Wilson's in fact. His fast-growing command was evidenced as early as 1936, when we made his first recordings with a sextet led by his bassist-brother Eddie Cole.

During the remainder of the decade he sharpened his skills through playing engagements in his native city, which led to his forming a band to tour with the road company of Eubie Blake's Shuffle Along musical revue. the show folded in Long Beach, Ca., but Cole soon found work as a solo pianist in various Southern California nightspots. He formed his celebrated trio for a brief engagement at Los Angeles' Swanee Inn, and proved so popular that the trio was held over for more than a year. Incidentally, it was there, in answer to a patron's insistent requests, that Cole began singing, meeting with such favorable response that he soon was doing it more and more frequently. An engagement at Hollywood's Radio Room, where he was heard by record store proprietor Glenn Wallichs, led to Cole's being asked to join the artist roster of the record film Wallichs, songwriter Johnny Mercer and film executive B. G. DeSylva had formed in late 1942, Capitol Records.

The rest is, as they say, history. From his very first recording session for the new label Cole achieved success with a song he had written Straighten Up and Fly Right, which reportedly sold half-a-million copies within a few months of its release. In the ensuing years Cole soon had outstripped that promising start, achieving phenomenal success with a long, uninterrupted succession of hit records, more than 75 of his singles placing on the lists of best-selling records from 1944 right up to his untimely death in 1965, many of them among the most succesful popular recordings of our times. These were complemented by sizable numbers of long-play albums in which he demonstrated his fetching, seductive way with classic ballad standards, in the interpretation of which he was rivaled only by such superlative vocalists as Frank Sinatra, Ella Fitzgerald and others of this rank, and in occasional instrumental programs which showed he had lost none of his formidable pianistic wizardry.

At much the same time Cole was investigating jazz, George Shearing was doing the same several thousand miles away in London. The blind pianist had first been attracted to the music through the recordings of Fats Waller, Teddy Wilson and other leading American jazz musicians he had heard as a teenager. Like Cole, he taught himself how to play the challenging new music, and by the middle 1930s had progressed so well that he began performing at jam sessions and in small clubs around London, which soon led to his first recordings, made in 1939 for Decca Records. Membership in the orchestra of Claude Bampton, comprised of 17 blind musicians, was followed by solo work, several years as featured pianist with the popular Ambrose Orchestra, and continuing recording activity under his own name, primarily as a soloist, though occasionally with small groups, as he gained in confidence and ability. Through the 1940s, in fact, his domination of his instrument in British jazz circles was virtually uncontested, Shearing topping the annual Melody Marker polls as the nation's foremost pianist seven years running.

A less dedicated or ambitious musician might have been satisfied with his achievement, but not Shearing. He knew that in order to grow further as a player he would have to test himself against the music's best and brightest. While this occasionally was possible in London when, as happened from time to time, he was able to play with visiting American jazz musicians, he felt the best way to go about it would be to place himself in a situation that ensured his being challenged by them on a steady, continuing basis. This, of course, meant moving to the U.S., and specifically to New York City, then as now the major center of jazz activity and a virtual proving ground for the serious player. Accordingly, Shearing made the move in December of 1947 and spent most of the following year performing at New York's Three Deuces, first as a soloist, later leading his own trio and quartet.

In 1949 he made his first recordings as leader of the George Shearing Quintet, one of the most distinctive and freshest-sounding small groups in all of modern jazz. The invigoratingly novel voicing Shearing devised for its instrumentation - piano, guitar, vibraharp, bass and drums - was bright, appealingly elegant and the very epitome of "cool". Graceful, exuberant, finely detailed, easily accessible to the casual listener yet possessing more enough focused invention to satisfy the most demanding jazz fan, the quintet was an immediate sensation. It quickly became one of the most popular small groups of the period, touring and performing incessantly, and enjoying great popular success with its recordings as well, a number of them, September in the Rain for example, among the most played records of the time. During the 1950s, in fact, the quintet's shimmering, distinctive sound was all but ubiquitous, heard everywhere - on radio and television, in films, theaters and nightclubs, at wedding receptions, country club dancers and every like event that called for sophisticated music. In the decades since, it has been one of the most enduringly popular of all instrumental groups and its leader widely regarded for the consistently high standards of poised, elegant musicianship he has maintained in the group, which have made its music so exhilirating and enjoyable.

It was these qualities that made its collaboration with Nat Cole so special. And so apt. For the singer, who had made his earliest vocal recordings with the backing of his own jazz trio, to be accompanied by so adroit and accomplished a group as Shearing's must have been something like coming home to a familiar, welcoming environment. And for Shearing, a more than passable vocalist himself, as he's demonstrated on occasion, working with Cole was a special, joyous experience - as satisfying artistically as it was gratifying personally - one which the pianist recalls with great foundness and joy as one of the high points of his career more than a quarter-century after it occured.

As the enclosed compact disc shows so clearly, George's recollection is correct. What he, Cole and co-orchestrator Ralph Carmichael (whose contribution should not pass unmentioned) producer over those four days in December, 1961, was indeed memorable music, as enjoyable and deeply satisfying today as when first recorded. Each man was intimately familiar with, and appreciative of the other's music, which made their collaboration not only possible but stimulating and enjoyable as well. As a result, the recording sessions went smoonthly and quickly - and happily, Shearing recalls - producing a program of performances that, because of the mutual respect Cole and Shearing had for one another, breathe warmth and affection and sincerity. And above all else, beauty. It's the presence of this latter quality that has caused Shearing to have, as he notes, worn out several copies of this album over the last two-and-a-half decades. That's something that you and I, thanks to the technological miracle that has given us the compact disc, will never have to worry about. We can play this music as often as George has, and more, and it'll never wear out. And that's something. I think you'll agree, we can take the greatest pleasure in - enduring music in an enduring format. Nat "King" Cole sings; George Shearing plays; we listen and marvel. Again and again and again, as often as we like.

(Pete Welding, from the CD notes)

Nat King Cole Sings / George Shearing Plays

Richard Clayderman - Ballade Pour Adeline

1. Ballade Pour Adeline (Piano et Orchestre)
2. Secret of My Love (One)
3. L'enfant et La Mer
4. Lys River
5. Black Deal
6. Lyphard Melodie
7. La Milliere
8. Secret of My Love (Two)
9. Romantica Serenade
10. Old Fashion
11. Ballade Pour Adeline (Piano Seul)

Ballade Pour Adeline

Richard Clayderman - Brasil Tour '86

1. Medley: Moon River / Love Story / La Vie En Rose
2. Ballade Pour Adeline
3. Medley: Maria / Tonight / America
4. Murmures
5. Souvenirs D'enfance
6. Aline
7. Rhapsody in Blue
8. Medley: La Mer / Yesterday / Till
9. Dolannes Melody
10. Feelings
11. Don't Cry for Me Argentina
12. Lara's Theme from "Doctor ZHivago"

Brasil Tour '86

Ralph Marterie and His Orchestra - College Dance Favorite

1. Green Light - Go
2. Cattle Crossing
3. Red Top
4. Don't Be That Way
5. School Zone
6. Day Break
7. Red Light - Stop
8. Dangerous Curve
9. No Parking
10. Lou's Blues
11. Plymouth Rock
12. Ramona

College Dance Favorite

Ray Conniff and The Singers - This Is My Song and Other Great Hits

1. This Is My Song (From "A Countess from Hong Kong")
2. Mame (From "Mame")
3. Sunrise, Sunset (From "Fiddler on the Roof")
4. Cabaret (From "Cabaret")
5. Strangers in the Night (From "A Man Could Get Killed")
6. What Now My Love
7. My Cup Runneth Over (From "I Do! I Do!")
8. Winchester Cathedral
9. The World Will Smile Again (From "The Night of the Generals")
10. Georgy Girl (From "Georgy Girl")
11. Born Free (From "Born Free")

This Is My Song and Other Great Hits

Frank Washburn and His Orchestra - I'm in the Mood for Love

1. I'm in the Mood for Love
2. Stardust
3. These Foolish Things
4. Deep in My Heart
5. Just We Two
6. Serenade
7. Tenderly
8. Softly As In A Morning Sunrise
9. Body and Soul
10. I Only Have Eyes for You
11. When I Grow Too Old to Dream
12. Lover Come Back to Me

I'm in the Mood for Love

Lawrence Welk - Dance with Lawrence Welk

1. In A Little Second Hand Store
2. That Old Black Magic
3. Maybe
4. Clarinet Marmalade
5. Begin the Beguine
6. South
7. Willow Weep for Me
8. By Heck
9. The Trumpet Rag
10. It's Easy to Remember
11. I Guess I'll Have to Change My Plan
12. Plenty of Brass

Dance with Lawrence Welk

Felipo Turez - With Spanish Saxes of Sonora

1. Sonora Senora
2. Third Man Theme
3. Magdalena
4. Marching Thru Nogales
5. Whipped Cream
6. Mira
7. A Taste of Honey
8. Life
9. Cuidado
10. Puerto Penasco

Spanish Saxes of Sonora

The Melachrino Orchestra - Music for Daydreaming - Conducted by George Melachrino

1. Dusk
2. Serenade in the Night
3. Moonlight and Roses (Bring Mem'ries of You)
4. Star Dust
5. Evensong
6. In the Still of the Night
7. To A Wild Rose
8. Barcarolle (From "Tales of Hoffmann")
9. Indian Summer
10. By the Sleepy Lagoon

Music for Daydreaming

Henry Mancini - Academy Award Collection

1. Moon River (Breakfast At Tiffany's)
2. On The Atchison, Topeka and The Santa Fe (The Harvey Girls)
3. Gigi (Gigi)
4. Over the Rainbow (The Wizard of Oz)
5. Three Coins in the Fountain
6. High Hopes (A Hole in the Head)
7. The Way You Look Tonight (Swing Time)
8. Whatever Will Be, Will Be (Que Sera Sera) (The Man Who Knew Too Much)
9. The Continental (Gay Divorcee)
10. Secret Love (Calamity Jane)
11. It Might As Well Be Spring (State Fair)
12. Swingin' on A Star (Going My Way)
13. Never on Sunday
14. High Noon (Do Not Forsake Me)
15. All the Way (The Joker Is Wild)
16. Days of Wine and Roses

There were few people in the world of music more qualified to make an album of Academy Award-winning songs than Henry Mancini. In his long and prestigious career, Mancini scored over 200 films, many Academy Award winners themselves.

Henry Mancini began playing music at the age of eight when his music-loving father insisted he learn to play an instrument. Reluctantly, he chose the flute. While in high school, Mr. Mancini became interested in music for himself, learning to play several other instruments while especially excelling on the piano.

Upon his high school graduation Mancini studied music at the Carnegie Institute of Technology in Pittsburgh for a year before transferring to the prestigious Juilliard School of Music in New York City. He never completed his studies for he was drafted to fight in World War II, where he served overseas in both the Army Air Forces and in the infantry.

While in the army, he got friendly with Tex Beneke, a musician who played in Glenn Miller's Army Air Corps Band. After the war, he joined the Miller band, then led by Beneke, as a pianist-arranger. It was there he met Ginny O'Connor, who was the band's singer. The couple married in 1947.

But, in his own words, Henry Mancini "wanted to write picture music ever since I was a kid...I wanted to be up there with all those names like Max Steiner. It was like a kid wanting to play baseball, wanting to be Mickey Mantle and finally pitching in a World Series." In 1952, he fulfilled his dream, joining the music department of Universal-International Studios. During the next six years he contributed to the scores of over 100 films, including "The Glenn Miller Story" (for which he received his first Oscar nomination for scoring), "The Benny Goodman Story", and Orson Welles' "Touch of Evil". He said of his time at Universal: "It was like taking a masters or a doctorate in film writing because I did everything that came along in six years". It was there Henry Mancini truly learned his craft. It was there Mancini's composing style developed, one which veered away from symphonic treatments toward smaller, more intimate jazz-based musical groups.

Upon leaving Universal, Mancini began a collaboration that was to last throughout his life. Producer/director Blake Edwards engaged him to write the score for the TV series, "Peter Gunn". With that ground-breaking score, Mancini introduced the jazz idiom to television.

Many other successes soon followed, for he worked quickly and his output was considerable. At his death in 1994 from pancreatic cancer, Henry Mancini had written the score for almost 300 motion pictures, was nominated for many Oscars, and received four. Who could be more qualified than Henry Mancini to choose, arrange, and conduct this great Academy Award Collection?

The selections in this collection start at the beginning, 1934, and the first song ever to win an Academy Award, "The Continental" from "Gay Divorcee", with music written by Con Conra and lyrics by Herb Magidson. Mancini's salute to the Oscar winners of the thirties continues with "The Way You Look Tonight" from 1936's "Swing Time", with the music by Jerome Kern and lyrics of Dorothy Fields, and the immortal "Somewhere Over the Rainbow" from 1939's "The Wizard of Oz", with music by Harold Arlen and lyrics by E.Y. Harburg.

Mancini chose great Oscar-winning music from the forties, starting with 1944's "Swingin' on A Star" from "Going My Way", with music by Jimmy Van Heusen, the most-honored Oscar winner-nominee composer with fourteen citations, and words by Johnny Burke, a lyrist winner-nominee of five Oscars. The song is a timeless classic. So is 1945's "It Might As Well Be Spring" from the film of Rodgers and Hammerstein's classic, "State Fair". 1946's "The Harvey Girls", provides the always entertaining "On The Atchinson, Topeka and The Santa Fe" with music by Harry Warren and lyrics by eighteen-time Oscar winner/nominee Johnny Mercer.

Many great songs from the fifties are represented here as well. It starts with 1952's theme from "High Noon (Do Not Forsake Me)", with music composed by eight-time Oscar winner/nominee Dimitri Tiomkin and words written by the talented Ned Washington. Next comes "Secret Love" from 1953's "Calamity Jane", with music by Sammy Fain (who won or was nominated for ten Oscars during his career) and lyrics by Paul Francis Webster (who won or was nominated for sixteen statuettes). 1954's winner was "Three Coins in the Fountain", the lush, romantic ballad composed by ten-time winner/nominee Jule Styne and lyrics by the leading nominee/award-winner, Sammy Cahn, who received a phenomenal twenty-six recognitions. The classic "Whatever Will Be, Will Be (Que Sera, Sera)", from 1956's "The Man Who Knew Too Much", had its music and lyrics composed by the team of Jay Livingston (recipient of six Oscar award/nominations) and Ray Evans (recipient of seven Oscar award/nominations).

The team of Sammy Cahn and James Van Heusen are again represented with 1957's Oscar winner "All the Way" from "The Joker Is Wild", while 1958 belonged to "Gigi", its words by Alan Jay Lerner and music by by Frederick Loewe. The Oscar again returned to the team of Sammy Cahn and James Van Heusen in 1959 with their "High Hopes" from "A Hole in the Head".

This collection ends with hits from the 1960's. First is the rousing Greek music of 1960's "Never on Sunday", with music and Greek lyrics composed by Manos Hadjidakis, English lyrics by Billy Towne. Then, Henry Mancini himself is represented with two classic examples of why he was nominated for eleven Academy Awards and received four: the classic theme from 1961's "Breakfast at Tiffany's", "Moon River", with lyrics by Johnny Mercer, and his winner for the following year, 1962, "The Days of Wine and Roses", again with lyrics by Johnny Mercer.

Henry Mancini's career in films spanned more than forty years, during which time he created some of the medium's most memorable and original music. When he passed away, the world lost a great composer, talent, and friend to all who knew him.

(Elin Guskind, from the original notes)

Academy Award Collection

Maria Cole - Orchestra and Chorus Conducted by Billy Vaughn

1. Sweet Georgia Brown
2. Fools Rush In
3. By the Light of the Silvery Moon
4. So Help Me
5. Cocktails for Two
6. Hands Across the Table
7. (Oh Baby Mine) I Get So Lonely
8. My Heart Cries for You
9. I Get the Blues When It Rains
10. My Personal Possession
11. It's Easy to Remember
12. You're Not Alone

Maria Cole

The Singer

(1922 - 2012)

Trombones Unlimited - Holiday for Trombones

1. Up, Up, and Away
2. It's A Long Way to Tipperary
3. Isle of Capri
4. England Swings
5. Jamaica Farewell
6. A Night in Israel
7. Loch Lomond
8. Norwegian Wood (This Bird Has Flown)
9. In A Little Spanish Town
10. Midnight in Moscow
11. Lisbon Antigua
12. Holiday for Trombones

Holiday for Trombones

Ed Ames - My Cup Runneth Over

1. My Cup Runneth Over (From "I Do, I Do!")
2. In the Arms of Love (From "What Did You Do in the War, Daddy?")
3. Au Revoir (From "Sherry!")
4. Don't Blame Me
5. Watch What Happens (From "The Umbrellas of Cherbourg")
6. Melinda (From "On A Clear Day You Can See Forever")
7. Bon Soir Dame
8. There's A Time for Everything
9. True Love (From "High Society")
10. Our Love Is A Living Thing
11. Edelweiss (From "The Sound of Music")

My Cup Runneth Over

Francisco Garcia - Blue Eyes - 15 Golden Guitar Hits

1. Blue Eyes
2. I Just Called to Say I Love You
3. Song for Guy
4. Woman in Love
5. Love of the Future
6. Nothing Compares to You
7. Still Got the Blues
8. Dreaming
9. You and Me in Paradise
10. A Rainy Day
11. Sweet Rendez-Vouz
12. Waiting for A Girl Like You
13. More Than I Can Bear
14. Back to San Francisco
15. Everytime You Go Away

Blue Eyes

Patti Page - Say Wonderful Things - Arranged and Conducted by Robert Mersey

1. Fly Me to the Moon (In Other Words)
2. The Good Life
3. Love Letters
4. Can't Get Used to Losing You
5. Call Me Irresponsible
6. Say Wonderful Things
7. If and When
8. Days of Wine and Roses
9. I Wanna Be Around
10. Moon River
11. The End of the World
12. Our Day Will Come

Say Wonderful Things