Great Film Hits - Various Artists

1. The Way We Were - Andre Kostelanetz
2. Theme from "Summer of '42" (The Summer Knows) - Tony Bennett
3. Raindrops Keep Fallin' on My Head - Peter Nero
4. Love Theme from "The Godfather" - Percy Faith
5. Goldfinger (From the Film "Goldfinger") - John Barry
6. (Where Do I Begin) Love Story - Vikki Carr
7. Theme from "Shaft" - Ray Conniff and The Singers
8. Born Free - John Barry
9. A Taste of Honey - Tony Bennett
10. The Windmills of Your Mind (Theme from "The Thomas Crown Affair") - Ray Conniff and The Singers
11. Tara's Theme (From "Gone with the Wind") - Percy Faith
12. Cabaret - Andre Kostelanetz

Great Film Hits

Tony Mottola - Stardust

1. (I Want to) Make It with You
2. Tea for Two
3. Theme from Love Story
4. Watchin' Scotty Grow
5. For All We Know
6. It's Too Late
7. Time and Love
8. Stardust
9. It's Impossible
10. Rainy Days and Mondays
11. If
12. Warm Feelings

Stardust

André Rieu - Live

1. O pequeno café no Porto
2. E agora Hendjes entra no céu
3. Marchando (Medley)
4. Hasja Hopsasa
5. A viúva alegre
6. Bons tempos (Medley)
7. Marcha popular / O pulo da Marianne
8. Uma pequena música de salão
9. Lábios silenciosos
10. Granada
11. Ui, ui, mariposa
12. Cielito lindo
13. Viva Itália! (Medley)
14. Eu esperarei (J'attendrai)
15. Marcha Radestzky
16. Ao longo do rio Sena (Auld Lang Syne)

Live

André Léon Marie Nicolas Rieu (born October 1, 1949) is a Dutch violinist, conductor, and composer best known for creating an international revival in waltz music with his "Johann Strauss Orchestra".

André Rieu was born into a musical family on October 1, 1949 in Maastricht in the Netherlands. He began studying violin at the age of five. His father was conductor of the Maastricht Symphony Orchestra. From a very young age he developed a fascination with orchestra. He studied violin at the Conservatoire Royal in Liège and in the Conservatorium Maastricht, (1968–1973). His teachers included Jo Juda and Herman Krebbers. From 1974 to 1977, he attended the Music Academy in Brussels, studying with André Gertler, winning the Premier Prix at the academy.

At University he performed the Gold And Silver Waltz by Franz Lehár. Encouraged by the audience reaction he decided to pursue the waltz form. Rieu formed the Maastricht Salon Orchestra and performed as a violinist with the Limburg Symphony Orchestra. In 1987, he created the Johann Strauss Orchestra and his own production company. Since then, his melodramatic stage performances and rock-star demeanor have for some been associated with a revival of the waltz music category. André Rieu plays a 1667 Stradivarius violin.

In April 2009 (Australia) /June 2009 (UK), he made a cameo appearance as himself on "Ramsay Street" in the long-running Australian soap opera Neighbours.

Johann Strauss Orchestra

The Orchestra began in 1987 with 12 members but now performs with between 40 and 50 musicians. At the time the Orchestra first toured Europe, there emerged a renewed interest in waltz music. The revival began in the Netherlands and was ignited by their recording of the Second Waltz from Shostakovich's Jazz Suites. As a result, Rieu became known as the waltz King.

Rieu and his orchestra have performed throughout Europe, in North America, and Japan. Winning a number of awards including two World Music Awards, their recordings have gone gold and platinum in many countries, including 8-times Platinum in the Netherlands. In September 2007 Rieu performed in Australia for the first time solo, without his Orchestra at the Eastland shopping centre in the Melbourne suburb of Ringwood playing "My Way" and "Waltzing Matilda"—and the next day appeared at Sydney’s Arena Cove, Warringah Mall shopping complex with the same set. Rieu and orchestra returned to Australia in November as part of his world tour. Rieu and his orchestra played 3 concerts at Melbourne's Telstra Dome from 13-15 November and continued their tour throughout Perth, Sydney, Brisbane and Adelaide, through to December 2008. The concert theme is 'A Romantic Vienna Night' and the set comprises a replica of part of a Viennese castle, complete with 2 ice-skating rinks 2 Fountains, and a ballroom dance floor situated above and behind the Orchestra. Rieu's largest concert attendance to date in Australia was 38,000 on Saturday 15 November in Melbourne. The Perth concert did not feature the replica of the Viennese Palace as it was stated in the press because it would not fit into the front doors of Subiaco Oval.

He records both DVD and CD repertoire at his own recording studios in Maastricht in a wide range of classical music as well as popular and folk music plus music from well-known sound tracks and theatre musicals. His lively orchestral presentations, in tandem with incessant marketing, have attracted worldwide audiences to this subgenre of classical music.

Some of his orchestra's performances have been broadcast in the United Kingdom and the United States on the PBS television network such as the 2003 airing of Andre Rieu Live in Dublin, filmed in Dublin, Ireland, and 2005’s André Rieu Live in Tuscany filmed in the Piazza Della Repubblica in the village of Cortona in Tuscany.

(From Wikipedia, the free encyclopedia)

Charlie Barnet - The Jazz Masters - 100 anos de Swing

1. Lonesome as the Night is Long
2. Smiles
3. Zanesville Zohio Zzz
4. Shady Lady
5. Dark Bayou
6. That Old Black Magic
7. Andy's Boogie
8. Oh, Miss Jaxson
9. Desert Sands
10. Things Ain't What They Used to Be
11. You Always Hurt the One You Love
12. The Moose
13. Skyliner
14. The Great Lie
15. Gulf Coast Blues
16. Drop Me Off in Harlem

The Jazz Masters

Charlie Barnet
Barnet, Charles Daly (Charlie)
alto, tenor, soprano sax, leader
Born; NYC. NY, 10-26-1913
Died; 9-4-1991

Charlie Barnet came from a wealthy family. His parents had hoped that their son would become a lawyer. However the free spirited Barnet, at just 16 years of age, led his own band on a transatlantic ocean liner crossing the ocean 22 times and later went to the South Seas and Latin America.

Barnet first became well known in jazz circles as a leader of a band that played the Paramount Hotel in NYC in 1932. His fame also spread as a soloist on several Red Norvo Octet sides in 1934 including “The Night Is Blue” which also featured Teddy Wilson, Artie Shaw and others. Although Benny Goodman may lay claim as having the first racially integrated touring jazz group, with his trio (and quartet) a few years later, this session helped break down racial barriers and was an example of what was to come for Wilson, Shaw, and Barnet. Wilson joined forces with Benny Goodman the following year and Shaw and Barnet were among the first white big bandleaders to spotlight African American stars. Barnet featured Lena Horn extensively in 1941 and later Roy Eldridge, Oscar Pettiford, Peanuts Holland and others.

The Barnet big band of 1939 to 1941 was his most well known and highly swinging outfit. The group's greatest commercial hit was Cherokee and a spin off of the song called Redskin Rhumba. Although the former has often been confused and quoted as the Barnet theme song, it was actually Redskin Rhumba that was used as the band's identifying song. Both Billy May and Barnet (sometimes under the name Dale Bennett) contributed many fine songs and arrangements to this bands repertoire. Billy May can be heard soloing with the Barnet band on trumpet often but Bobby Burnet was also a force on the instrument in the brass section. At various times Barnet employed the likes of such notable sidemen and vocalists as guitarist Bus Etri; drummer Cliff Leeman; pianist Dodo Marmarosa; clarinetist Buddy DeFranco; guitarist Barney Kessel; and singers Lena Horne, Francis Wayne, and Kay Starr.

Charlie Barnet was an outspoken fan of both Duke Ellington and Count Basie giving his tip of the hat to the two in titles like The Count’s Idea and The Dukes Idea. Charlie was mainly a tenor player, forming his style out of the Coleman Hawkins school, but also played alto and soprano sax, his style on the former influenced by Ellington’s alto man Johnny Hodges. Listen to his cover of the Ellington tune The Gal From Joe’s for a fine example of Barnet emulating the style of Johnny Hodges.

So good was Barnet’s rapport with Count Basie that the Count was one of the first to lend his charts to Barnet after the group lost all of their own arrangements (and instruments) in a hotel fire at the Palomar Ballroom on October 2nd, 1939.[see footnote 1] Not one to let things get him down; on October 9th, seven days after the incident, his band recorded the tune Are We Burnt Up. The record was never commercially released ...at least not in that form. A few years later with the ensemble chorus of “are we burnt up, oh Palomar, oh Palomar…” taken out, the record was released and became a hit as a straight swinging instrumental called Leapin At The Lincoln.

Barnet never recorded music or wrote tunes with much commercial aspiration and he denounced what Downbeat Magazine called “corn” or syrupy, schmaltzy, sweet music. His obvious sentiments regarding the subject can be heard on the hilarious lambasting of this style called The Wrong Idea, written by Billy May. In another song Barnet incorporated his nickname “The Mab” or sometimes “The Wild Mab.” Wild Mab Of The Fish Pond was so named after the loose Barnet band took an unscheduled, impromptu, inebriated dip in a hotel fountain. “Wild Mab” for Charlie Barnet and “The Fish Pond” code for the hotel fountain.

Charlie Barnet’s life reflected the color and looseness of his recordings and bands. He was married at least six times, often making newspaper headlines, and was one of the most talked about figures in jazz in the late 1930s and early 1940s. While his 1944 recording Skyliner became another big hit, his popularity and orchestras never achieved the same public acceptance or high level of output as between the years 1939 and 1941.

Charlie Barnet’s recording affiliations included; MELOTONE in 1933, BLUEBIRD from '34-'42, DECCA from 1942-46, APPOLLO 1946-47, CAPITOL 1949-50, ABBEY in 1952, CLEFF-VERVE 1953-57, EVEREST 1958-59, CROWN 1960, HEP 1966, CREATIVE WORLD 1967. Barnet fronted an 18 piece band that recorded live at Basin Street East in 1966 for HEP. His last album, Big Band '67, was recorded in 1967 with a 19-piece band for the CREATIVE WORLD label.

(From swingmusic.net)

A partir de hoje, dando continuidade às nossas postagens, abriremos um espaço destinado a um segmento bastante intuitivo, o jazz. Como forma insofismável de expressão artística, ele está presente em quase todas as formas e tendências musicais de hoje.

Esperamos que as gravações - muitas delas históricas -  aqui apresentadas sejam prestigiadas satisfatoriamente pelos nossos fiéis visitantes e colaboradores. Boa audição!

Billy Vaughn and his Orchestra - La Paloma - Billy Vaughn Goes Latin

1. La Paloma
2. Time Was
3. Say Si Si
4. Mexicali Rose
5. El Choclo
6. La Golondrina
7. Brazil
8. Estrellita
9. La Cumparsita
10. Perfidia
11. Yours
12. The Peanut Vendor

La Paloma

The music of Billy Vaughn has always enjoyed a uniquely potent international appeal. His Dot recordings had been selling well for three years when, in 1957, Vaughn's revival of "Sail Along Silvery Moon" crystallized a new sound that would make him famous worldwide.

It was essentially an extension of the music of the great sweet bands of the 1940s. His aural trademark became the lovely sound of twin alto saxophones, gracefully breathing life into a romantic melody over the support of a subtle, rock and roll-influenced beat. Everyone from teenagers to their grandparents could dance to this music, and for a long time, nearly everyone did. The formula proved marvelously versatile, and Vaughn soon discovered that it was easily adaptable to a wide variety of styles. Over the course of his career he recorded albums of Broadway show tunes, Hawaiian songs, movie themes, and country music standards. They all became best-sellers. This album, "La Paloma", from 1958, is a salute to the rhythms of Latin America. The title track became a #20 hit single in the U.S., sold over a million copies in Germany alone, and earned Vaughn a gold record.

Earlier, "Sail Along Silvery Moon" had sold a million copies in both Germany and Holland, and Vaughn made his first trip to Europe in March of 1959 to collect an armful of awards. In Japan, his music was hailed as "The Sound of Fascination", and he began what became annual, sold-out tours of that nation in 1966. He was also well loved in South America, where so much of the music on the "La Paloma" album was conceived. For a series of concerts in Brazil, he was billed as "The King of Romantic Music", and it is the essential romanticism of both the Vaughn  approach and the lovely Latin melodies assembled here that made "La Paloma" such an inspired collection. Popular songs from Mexico and South America were transformed into juke-box fodder on a regular basis in the U.S. throughout the '30s and '40s, although few who enjoyed these records were aware of this fact.

Many such selections were adaptations of the work of the great Cuban composer Ernesto Lecuona. He is represented here by 'Para Vigo Me Voy', which was given an English lyric by Al Stillman in 1936 and retitled 'Say Si Si'. 'La Paloma' was originally a Spanish tango from the mid 19th century, while 'El Choclo', which Georgia Gibbs popularized in 1952 as "Kiss of Fire", began as an Argentine tango in 1913. Aside from such traditional folk melodies as 'La Golondrina' and 'La Cumparsita', most of the remaining tracks here have similar tales of origin, with the conspicuous exception of 'Mexicali Rose', which was penned by Helen Stone and Jack B. Tenny in 1923, and crooned by Gene Autry in a Republic Pictures western of the same title in 1939.

The majority of this album was recorded on August 22, 1958 in the studios of Master Recorders on Fairfax Avenue in Los Angeles (four of the tracks were recorded on April 11 as part of an EP session). Arrangements were written by both Billy Vaughn and his longtime assistant, pianist Milt Rodgers. On August 23, an overdubbing session was held, during which the gifted saxophone player Justin Gordon, who was solely responsible for the twin alto harmonies on Vaughn's classic recordings, replicated his efforts of the previous day by recordings while listening to a low volume playback of the earlier session through a small speaker (Gordon obviously had a flair for this sort of material, and was later involved in a memorable series of bossa nova albums made for the Capitol label under the leadership of guitarist Laurindo Almeida). The "La Paloma" sessions also placed a spotlight on the trumpet work of two longtime Vaughn sidemen, Virgil P. Evans and Manuel Stevens.

He deserves a tip of the sombrero for pulling off the impressive trick of capturing this music in all its glory, while simultaneously imprinting his own distinctive sound on every note.

(Joseph F. Laredo)

Dick Farney - Perdido de amor - Disc 2

1. Minha namorada
2. Marina
3. Fotografia
4. Não tem solução
5. Solidão
6. Aeromoça
7. Tereza da praia (com Lúcio Alves)
8. Secretária
9. Você não sabe amar
10. Uma loira
11. Só nós dois
12. Se é por falta de adeus
13. Night and Day
14. A saudade mata a gente

Perdido de Amor 2

Dick Farney - Perdido de amor - Disc 1

1. Copacabana
2. Alguém como tu
3. Este seu olhar
4. Nick bar
5. Somos dois
6. Risque
7. Você (com Claudete Soares)
8. Nem eu
9. Inútil paisagem
10. Um cantinho e você
11. Perdido de amor
12. Tenderly
13. O barqueiro de São Francisco
14. When I Fall in Love

Perdido de Amor 1

Dick nasceu no Rio de Janeiro a quatorze de janeiro de 1921 e veio a falecer no dia quatro de agosto de 1987. Dick Farney era cantor excelente, instrumentista, e compositor que contribuiu decisivamente à renovação de música popular brasileira com a incorporação do jazz em harmonias e estilo. Filho de pianista e cantora, Dick Farney se tornou pianista clássico, tocando peças de Manuel de Falla na Rádio Mayrink Veiga aos quatorze anos.

Influenciado pelo pop e jazz americanos, Farney se tornou o pianista do grupo "Swing Maníacos, junto com seu irmão, o então baterista Cyl Farney. Na Rádio Mayrink Veiga ele teve o seu próprio show: Dick Farney, Sua Voz e Seu Piano e.tocou no Cassino da Urca como crooner da Orquestra de Carlos Machado, 1941 a 1944.

Como cantor solista, a sua primeira gravação foi em 1946, interpretando samba-canção "Copacabana" ( João o Barro/Alberto Ribeiro), isso se tornaria um dos seus clássicos. Ainda em 1946, ele foi para os EUA tocar com Nat Cole, Bill Evans e David Brubeck. No ano seguinte, ele teve uma outra temporada, tocando durante dois meses na rádio NBC e fazendo shows ao vivo em Hollywood, Chicago e São Francisco.

Dick Farney lançou "Tenderly" naquele período através da Majestic Records. No Brasil, ele teve sucesso com as canções "Marina", "Um Cantinho e Você" e "Nick's Bar". No começo dos anos 50, ele fez sucesso com "Alguém Como Tu", "Sem Esse Céu" e "Ranchinho de Palha" (ambos por Luís Bonfá).

Em 1954, ele formou o "Dick Farney e Seu Conjunto" no qual ele tocava piano. Uma fase nova começou neste ano, marcado pela sua associação com Tom Jobim, que anunciou os futuros tempos de bossa nova, com o sucesso de "Teresa da Praia" (Tom Jobim/Billy Blanco) interpretado por Farney e Lúcio Alves.

Farney participou da "Sinfonia do Rio de Janeiro" (Tom Jobim/Billy Blanco) e formou um quarteto de jazz com o baterista Rubinho, o baixista Xu Viana e saxofonista Casé. O grupo teve sucesso e depois de se apresentar no Teatro Municipal de Rio de Janeiro, gravou um álbum.

Em 1957, ele foi para os EUA onde ele tocou durante um ano em New York, viajando depois para Cuba, República Dominicana, Porto Rico e o Caribe. Em 1959, ele teve seu próprio show na Tv Record e em 1965, ele e Betty Faria eram anfitriões no show "Dick e Betty" na Tv Globo.

Em 1965, Farney lançou um álbum pela Elenco, "Você", um dos seus maiores sucessos. Em 1971, Farney formou um trio com o baixista Sabá (Sebastião Oliveira da Paz) e o baterista Toninho (Antônio Pinheiro Filho), para uma temporada na boate Flag's. Continuando gravando e tocando regularmente, o último lançamento de Farney foi o álbum "Dick Farney Ao Vivo"(1986).

(From "Clube de jazz")

Anthony Ventura and his Orchestra - Music For Making Love

1. The Air That I Breath
2. Aranjuez
3. Bilitis
4. Blue Bayou
5. Bright Eyes
6. Don't Cry For Me Argentina
7. El Condor Pasa
8. Hotel California
9. If You Go Away
10. Nabucco
11. Samba Pa Ti
12. The Sound of Silence

Music For Making Love

Percy Faith - Plays Romantic Music

1. While We're Young
2. I'll Take Romance
3. Invitation
4. The Girl that I Marry
5. Valse Huguette
6. If I Loved You
7. Carousel Waltz
8. Easy to Love
9. One Night of Love
10. When I'm Not Near the Girl I Love
11. Caress
12. Beautiful Love

Romantic Music

The music in this collection is some of the most romantic to be heard on records. Including a large selection of American waltzes by some of the country's finest composers, together with other favorite compositions, it displays the superb talents of arranger and conductor Percy Faith. In addition to his richly colorful treatments of these pieces, it also offers two selections featuring The Magic Voices, 'If I Loved You' by Richard Rogers, and 'Easy to Love' by Cole Porter. In these expressive arrangements, the voices of a female choir are used as instruments in the orchestra, not to sing lyrics or carry the melody, but to add a new texture of sound.

The oldest of eight children, Percy Faith began studying the violin at the age of seven. Shortly thereafter an aunt gave him a fine piano, with witch he was immediately fascinated. By the time he was ten, he had progressed to the point where he was able to present a double recital, playing alternate solos on the violin and the piano. However, his real love was the piano, and he concentrated on that instrument. During his high school years, he found after-hours employment in a Toronto movie house, playing music to accompany silent films. Here he learned how to improvise and to ad-lib, to fit the mood of various scenes and to stretch out the music when his cue-sheets proved faulty.

Upon graduation from high school, he joined an orchestra which played in and around Toronto. Suddenly, an offer came from Jack Arthur, a symphonic-orchestra conductor known as the "Paul Whiteman of Canada". Impressed with Percy's ability, Arthur lent him to a small band in the area, intending to place him in his own group after Percy had acquired more experience. However, Percy found work on several radio programs, and continued to study for concert work under such teachers as Frank Wellman of the Toronto Conservatory, and Louis Waizman. It was Waizman who recognized the young musician's talent for interpretative arranging, and convinced him that he should follow that technique.

By 1931, Faith was conducting his own orchestra - a small string group - on the air. He progressed through larger groups and in 1934 the Canadian Broadcasting System hired him as staff arranger and conductor. He was given a program called "Gaiety in Romance" that at once landed a sponsor, and continued with "Streamline" and "Music by Faith". Early in 1940 he was offered the conductor's post with thye "Canadian Hour" in the United States, which he conducted until 1947, until he starred on "The Pause That Refreshes". Shortly thereafter he joined Columbia Records as a member of the Artists and Repertoire staff, and as a recording artist in his own right. Since that time his arrangements have been in constant demand, and he has been one of the leaders in the return of the instrumental number to favor. Such Faith hits as 'Delicado', 'The Song from Moulin Rouge' and others have done much to re-establish instrumental music in a field long given over to vocalists. In this collection of romantic music, the reason for his success is easy to hear, and easier still to enjoy. This is music in the true romantic manner: sumptuous, melodic and brimming with beautiful harmonies.

(From original LP liner notes)           

Andre Kostelanetz and his orchestra - Lure of the Tropics

1. The Moon of Manakoora (from "Hurricane")
2. Lotus Land
3. Kashmiri Song (from "Four Indian Love Lyrics")
4. Jamaican Rhumba (from "Sadko")
5. Flamingo
6. Poinciana (Song of the Tree)
7. Andalucia
8. Song of India (from "Sadko")

Lure Of the Tropics

The world loves the great musical innovators, vibrant souls who revolutionized the music of their time with a fresh approach: the eminent classical composers, of course, and performers of more recent vintage like Pablo Casals, Bill Monroe, Maria Callas and Charlie Parker.

Artistes capable of synthesis, of combining genres of music, tend to be overlooked when the history of song is written despite any commercial success that they might have achieved in their prime. Andre Kostelanetz, "The Maestro", is one of music's unsung heroes.

For over five decades and with worldwide sales in excess of 53 million records, the rock revolution has all but eradicated the impact that Kostelanetz had upon the music makers and music lovers of his era. Composers admired him and audiences cheered him, recognizing his gift. For he was able to not only present works of masters like Aaron Copland and Debussy, but also to feature the brilliant melodies of contemporaries like Jerome Kern and George Gershwin in arrangements for a large orchestra that ably demonstrate why their music will last. He understood the public's hunger for culture without being lectured to, and in his own unique graceful style gave it to them without snobbery, on a silver (or rather vinyl) platter.

Born in December, 1901 in St Petersburg, the heart of Tsarist Russia, to an affluent family of taste and education, young Andre cultivated a love of music at an early age. However, as a young man he had to undergo many hardships and near-death experiences during the calamitous and historic days surrounding the Bolshevik revolution of 1917. In 1922, he was finally able to realize his dream of emigrating to America, rejoining his family, who had arrived previously. Working initially as vocal coach, his ambition to be a conductor came to fruition when he was hired in 1930 by the Columbia Broadcasting System.

The trial and error discovery that string instruments played en masse tended to mask the static and hum of the earliest radio broadcasts was a boon to Kostelanetz, as his arrangements of light classics and modern popular songs were sympathetic with the technology available.

As innovative as his radio broadcasts were in the way of microphone placement and mixing, so would his later recordings be held up as audiophile standards, benchmarks in his never ending quest for perfect reproduction of acoustic instruments.

Kostelanetz was even responsible for a military breakthrough during the Second World War when a machine he was using to determine the exact pitch and frequency of instruments was adopted by the Department of Navy for wartime submarine detection. Kostelanetz and his wife, the beautiful and renowned opera diva Lily Pons, made many appearances for the troops overseas in support of the war effort.

Kostelanetz' and Pons' USO-inspired globetrotting further developed his appreciation of music from around the world, and he made a special effort to include global compositions in his records and live recitals.

'Lure of the Tropics' consists mostly of standards associated with the Exotica movement - "Moon of Manakoora", "Poinciana", and "Song of India" for example. "Malagueña" also is performed here - slightly out a place geographically, but still fitting in with the lush, romantic vibe that Kostelanetz creates with his "pictures in sound".

Kostelanetz continued until his death in 1980 as one of CBS Records' constant record-makers adapting pop tunes as well as introducing the classics to millions of fans worldwide. Some say that he even created the genre known as easy listening that made his recordings, as well as those of the Italian conductor Mantovani, staples of the Muzak piped-in music service. Whatever the truth may be, Andre Kostelanetz brought beauty, joy, and culture to many with his elegant music, and for that alone he should be remembered.

(By Al Fichera)

Nat 'King' Cole - Sings For Two in Love

1. Love Is Here to Stay
2. A Handful of Stars
3. This Can't Be Love
4. A Little Street Where Old Friends Meet
5. Autumn Leaves
6. Let's Fall in Love
7. There Goes My Heart
8. Dinner For One Please, James
9. Almost Like Being in Love
10. Tenderly
11. You Stepped Out of A Dream
12. There Will Never Be Another You

Two in Love

Ray Anthony - Plays For Dream Dancing

1. This Love of Mine
2. Dream Dancing
3. I'll Never Smile Again
4. Out of Nowhere
5. I Only Have Eyes For You
6. Embraceable You
7. Street of Dreams
8. Stars Fell on Alabama
9. I Don't Know Why (I Just Do)
10. Laura
11. Moonlight in Vermont
12. September Song

Dream Dancing

Bert Kaempfert and His Orchestra - That Latin Feeling...

1. O Cangaceiro (The Bandit)
2. Sweet and Gentle
3. Maria Elena
4. Mambo Mania
5. Say Si Si (Para Vigo Me Voy)
6. Poinciana
7. The Breeze and I
8. Cha Cha Brasilia
9. Besame Mucho
10. Trumpet Fiesta
11. Bert's Bossa Nova
12. Chicken Talk

That Latin Feeling

What is "That Latin Feeling"? It's a magic country of the heart...an exhilarating state of mind. And your passport to that happy state is the pulsating music of Bert Kaempfert and his orchestra.

"That Latin Feeling" is an album that captures a wonderfully exciting atmosphere - a mood of fun and fiesta time...exotic romance...music with the unique quality that only the Latin rhythms possess.

How does Bert Kaempfert create this magic? With the same superbly danceable and listenable style that has made each of his succeeding album releases a bigger favorite than any before.

His continental background, of course, gives him a certain instinctive flair for the Latin tempos. Certainly in the soaring trumpet notes, he communicates the emotional quality of this graceful and stirring music. And as the Kaempfert tones ring out, you truly share the glow of "That Latin Feeling".

Bert has gathered a wonderful array of tuneful treats in this album - including more great standards. 'Sweet and Gentle', 'The Breeze and I', 'Poinciana', 'Maria Elena', 'Besame Mucho' - they're all here, offering bossa nova, cha cha, rumba-bolero or merengue. And you'll also find yourself swept up in the beat of some delightful originals.

Feel the inclination to get a melodic change of pace? Well, there's no need to pack a bag, or get a visa stamped. Bert Kaempfert will take you all the way - to "That Latin Feeling".

Olé!

(From the original liner notes)

Ronnie Aldrich - The Magnificent Pianos of Ronnie Aldrich & The Strings of the Festival Orchestra

1. Ebb Tide
2. The Very Thought of You
3. I'll Be Seeing You
4. Love Letters
5. Long Ago and Far Away
6. How Deep Is the Ocean
7. Smoke Gets in Your Eyes
8. Stella by Starlight
9. Among My Souvenirs
10. Darn That Dream
11. Evening Star
12. Where or When

The Magnificent Pianos

Carmen Cavallaro - The Eddy Duchin Story - The Sound Track Album

1. To Love Again
2. Manhattan
3. Shine on Harvest Moon
4. It Must Be True
5. Whispering
6. Dizzy Fingers
7. You're My Everything
8. Chopsticks
9. On the Sunny Side of the Street
10. Brazil
11. La Vie En Rose
12. To Love Again (Final)

Eddy Duchin Story

"The Poet of the Piano," Carmen Cavallaro was born May 6, 1913 in New York City; though a classically-trained performer, in time he expanded into pop arrangements in the mode of his chief inspiration, Eddy Duchin. After a four-year stint as the featured soloist with bandleader Al Kavelin, in 1937 Cavallaro moved on to a series of other society big bands, including those helmed by Abe Lyman, Enric Madriguera, and Meyer Davis; in the early 1940s, he began leading his own groups, making his name on the hotel circuit and on radio. Settling in Hollywood in 1944, he appeared in films including Hollywood Canteen, Out of This World and The Time, the Place and the Girl, and in 1945 also scored a hit with "Chopin's Polonaise"; after the war, he additionally hosted a radio program for NBC, The Sheaffer Parade. Signing to Decca, Cavallaro recorded a series of best-selling 78s including Cavallaro Plays Ellington, Music at Midnight and For Latin Lovers, and in 1956 he ghosted Tyrone Power's piano playing in the big-screen biopic The Eddy Duchin Story. He died in 1989. ~ Jason Ankeny, All Music Guide

Carmen Cavallaro (May 6, 1913 – October 12, 1989) was an American pianist born in New York. He established himself as one of the most accomplished and admired light music pianists of his generation.

Known as the “Poet of the Piano”, Carmen Cavallaro showed a gift for music from age three, picking out tunes on a toy piano. His parents were encouraged by a friend to develop the child’s musical talents and he studied classical piano in the United States. As a young pianist, he toured Europe performing in many capitals.

In 1933, Cavallaro joined the jazz band of Al Kavelin, where he quickly became the featured soloist. After four years he switched to a series of other big bands, including Rudy Vallee's in 1937. He also worked briefly with Enrico Madriguera and Abe Lyman.

Starting his own band, a five-piece combo, in St. Louis in 1939, his popularity grew and his group expanded into a 14-piece orchestra, releasing some 19 albums for Decca over the years. Although his band traveled the country and played in all the top spots, he made a particular impact at the Mark Hopkins Hotel in San Francisco, which became a favourite venue, and which many years later, was to be re-visited in the same way by George Shearing and Mel Tormé. Other venues where he drew large and devoted audiences included New York’s Waldorf-Astoria, Chicago’s Palmer House and the Los Angeles’ Coconut Grove. In 1963, he had a million seller hit with the song Sukiyaki.

Cavallaro developed a piano style of glittering and rippling arpeggios to augment his melody, which was often arranged in thick and lush triple and quadruple octave chords. His musical interests and arrangements included dance music, particularly Latin rhythms, tangos and strict tempo dancing styles, as well as some pop and jazz arrangements of classical melodies. In this, he is often cited as being influenced by pianist Eddy Duchin. Liberace was greatly influenced by both Cavallaro and Duchin. All three shared a propensity for arranging classical piano themes in a pop idiom.

Cavallaro also became famous through the medium of radio and film, firstly with his regular program on NBC during the 1940’s, The Schaeffer Parade, of which he was the host and later in films where he played himself, starting with Hollywood Canteen (1944), then Diamond Horseshoe (1945) and Out of This World (1945). His most celebrated film achievement was playing the piano music for actor Tyrone Power’s hands to mime, in The Eddy Duchin Story (1956).

Carmen Cavallaro died from cancer in 1989 in Columbus, Ohio.

From Wikipedia, the free encyclopedia

The Latin Sound of Lex Vandyke - Concierto de Aranjuez

1. Concierto de Aranjuez
2. Besame Mucho
3. Manhã de Carnaval
4. Amor, Amor, Amor
5. Romance
6. Recuerdos de la Alhambra
7. Cavatina (Theme from "The Deer Hunter")
8. Perfidia
9. Maria Elena
10. The Girl From Ipanema
11. Vaya Con Dios
12. Wave
13. Nostalgia
14. One Note Samba
15. Malagueña
16. La Paloma
17. Prelude Nº 1
18. La Comparsa

Concierto de Aranjuez

Internationally renowned guitarist Lex Vandyke turns his attention to Latin American music with this collection of well-known melodies. Playing favorites from the 'Great Latin Songbook' from "Besame Mucho", "Amor, Amor, Amor", "Perfidia", "Malagueña" and "La Comparsa" to the tunes of the bossa nova era including "Manha de Carnaval", "The Girl from Ipanema", "Wave" and "One Note Samba", Lex Vandyke endows each with the special blend of musicality and tenderness that makes his recordings so irresistible to listeners around the globe.

This album is entitled "Concierto de Aranjuez" after one of the masterworks of the Spanish composer Joaquin Rodrigo. The "Concierto de Aranjuez", a mature and astonishingly well-balanced composition, explored new fields of harmony and rhythm and opened up vistas in the use of the orchestra and the solo instrument. In the "Concierto de Aranjuez", the guitar, in spite of its distant sound, never becomes submerged in the orchestra, but asserts its individuality and even dialogues with it.

Along the way, Lex Vandyke also pays tribute to some of the best composers of popular music in the history of Latin American music, composers such as Ernesto Lecuona, Luiz Bonfá and Antonio Carlos Jobim. Lecuona is probably the most successful composer Cuba has produced, Bonfá and Jobim are among the most beloved Brazilian composers of the 20th century.

Bonfá is best known for "Manha de Carnaval" ("Morning of Carnival"), from the cinema classic "Black Orpheus" (original title, "Orfeu Negro", 1958). Film director Marcel Camus commissioned Luiz to write the score for "Black Orpheus", but originally rejected "Manha de Carnaval" as its theme. Bonfa complied with a second offering, but insisted the first was preferable. After heated disagreements, Camus relented and "Manha de Carnaval" has since become a classic, recorded in 37 different languages.

Jobim made the world aware of the lilting, langourous rhythms of Brazil with such songs as "The Girl from Ipanema" and "One Note Samba". These songs are representative of bossa nova, a music which has influenced countless musicians and listeners.

(From original liner notes)

Waldir Calmon e seu Conjunto - Feito Para Dançar

1. Desabafo
2. Grito de Alerta
3. Folhetim
4. Negue
5. Ronda
6. Cicatrizes
7. Bandolins
8. Descaminhos
9. A Viagem
10. Mania de Você
11. Café da Manhã
12. Separados Nada Somos

 Feito Para Dançar

Waldir Calmon Gomes (Rio Novo, 30 de janeiro de 1919 — Rio de Janeiro, 11 de abril de 1982) foi um pianista e compositor brasileiro de grande sucesso nos anos 50.

Gravou dezenas de discos - entre eles, a famosa série "Feito Para Dançar" e a música tema do extinto Canal 100, "Na Cadência do Samba" (Que Bonito É). Também gravou com Ângela Maria o disco "Quando os Astros se Encontram", em 1958.

Neste LP, encontramos o maior sucesso da sapoti: "Babalu".

Criou um estilo imitado por muitos pianistas que o sucederam.

No ano de 1941, já como Waldir Calmon, fez sua primeira gravação acompanhando Ataulfo Alves em “Leva Meu Samba”.

Depois de formar o grupo "Gentleman da Melodia", circulou por teatros e cassinos do Rio e São Paulo.

Foi nessa época que começou a tocar o primeiro solovox (pequeno teclado incorporado ao piano, precursor dos sintetizadores) trazido para o Brasil, popularizando o instrumento.

Na década de 50 gravou vários discos "Ritmos Melódicos" (no selo Discos Rádio), "Para Ouvir Amando", "Chá Dançante" e "Feito para Dançar" (Copacabana).

Foi o pioneiro a gravar sucessos dançantes em faixas únicas, ininterruptas, adequados a animar festas, eternizando nos acetatos o som que produzia nas boates de então.

Em 1955 abriu sua própria casa noturna, a popular Arpège, no Leme (RJ), que funcionaria até 1967 - onde atuaram João Gilberto, Tom Jobim, Vinicius de Moraes, além de Chico Buarque, que fez um de seus primeiros shows, em 1966, ao lado de Odete Lara e MPB-4.

Seu conjunto era formado nessa época por Paulo Nunes (guitarra), Milton Banana (bateria), Eddie Mandarino e Rubens Bassini (percussão), Gagliardi (contrabaixo) e o próprio Calmon, ao piano e solovox.

Entre 70 e o começo de 77, atuou com sua orquestra de baile no Canecão (RJ), antes e depois do show principal.

Nos últimos anos de carreira, passou a tocar também sintetizadores. Morreu em abril de 1982 de infarto do miocárdio.

Discografia:

    * Série Feito Para Dançar (Gravadora Rádio) - números 1 a 12

    * Série Novo Feito Para Dançar (Gravadora Copacabana) - letras A, B, C, D, E

    * Série Chá Dançante (Gravadora Copacabana) - números 1, 2, 3

    * Série Mambos (Gravadora Copacabana) - números 1e 2.

    * Série Para Ouvir Amando (Gravadora Copacabana) - números 1 e 2.

    * Série Ritmos Melódicos (Gravadora Rádio) - números 1 e 3.

    * Série Uma Noite no Arpége - números 1, 2 (Rádio) e 3 (Copacabana).

    * Sonhos e Melodias (Copacabana)

    * Boleros (Copacabana)

    * Samba, Alegria do Brasil (Rádio)

    * Rosita Gonzales com Waldir Calmon (Rádio)

    * Hit Parade (Copacabana)

    * O Sucesso, Hoje (Copacabana)

    * Lembranças de Paris (Rádio)

    * Ritmos do Caribe (Copacabana)

    * Quando os Astros Se Encontram - Waldir Calmon e Ângela Maria

      (Copacabana)

    * Ritmos S. Simon (Indústria Fonográfica Brasileira)

    * Romance Sin Palabras (Copacabana)

    * E o Espetáculo Continua (Copacabana)

    * Clássicos Para Dançar (Copacabana)

    * Nos Requebros do Samba (Copacabana)

    * Músicas de Herivelto Martins (Rádio)

    * Waldir Calmon e Seus Multisons (Copacabana)

    * Discoteque - Feito Para Dançar (Copacabana)

    * Waldir Calmon - Feito Para Dançar, de 1980 (Copacabana).

(Origem: Wikipédia, a enciclopédia livre)

Franck Pourcel and His Orchestra - Viennese Waltzes In Stereo

1. Emperor Waltz
2. Tales of the Vienna Woods
3. Danube Waves
4. Artist's Life
5. Vienna Blood
6. Wine, Women and Song
7. TreasureWaltz
8. Gold and Silver
9. Voices of Spring
10. The Beautiful Blue Danube

Viennese Waltzes

*All compositions were written by the Strauss family*

Mantovani and His Orchestra - From Mantovani with Love

1. Try To Remember
2. It's Impossible (Somos Novios)
3. My Prayer
4. If I Only Had Time
5. Loss of Love
6. Gwendolyne
7. Rosy's Theme
8. Theme From "Love Story"
9. Little Green Apples
10. Last Summer
11. Where Have All the Flowers Gone?
12. May Each Day

With Love

Victor Young & Orchestra - Love Letters

1. Together
2. The Dream of Olwen (Tema do Filme "While I Love")
3. Hi-Lili, Hi-Lo (Do filme "Lili")
4. Love Theme (Tema do Filme "The Glenn Miller Story")
5. Golden Earrings (Tema do Filme "Cigana Feiticeira")
6. Limelight (Tema do Filme "Luzes da Ribalta")
7. Serenade (De "The Student Prince")
8. Imagination
9. Tema de "The Medic"
10. The Call of the Far Way Hills (Do Filme "Shane" - "Os Brutos Também Amam")
11. The Melba Waltz (Do Filme "Melba")
12. My Foolish Heart (Tema do Filme "My Foolish Heart")
13. Tema de Dalila (De "Sansão e Dalila")
14. Drigo Serenade
15. Ruby (Tema do Filme "Fúria do Desejo")
16. Always
17. Stella By Starlight
18. The High and the Might (Tema do Filme "Um Fio de Esperança")
19. Smile (Tema do Filme "Tempos Modernos")
20. Spellbound (Tema do Filme "Spellbound" - "Quando Fala o Coração")
21. Remember
22. Love Letters (Tema do Filme "Um Amor em Cada Vida")

Love Letters

O violinista, compositor, maestro e arranjador Victor Young nasceu em Chicago, E.U.A., em 8 de agosto de 1900 e faleceu em Palms Springs, E.U.A., em 11 de novembro de 1956, com apenas 56 anos de idade.

Já aos 4 anos dedilhava o violino. Aos 6 conseguia tirar no instrumento algumas melodias conhecidas. Aos 10 foi morar com o avô em Varsóvia, Polônia, e por quase 10 anos estudou violino no Conservatório Musical dessa capital.

Quando tinha 18 anos deu seu primeiro concerto junto com a Orquestra Sinfônica de Varsóvia. O banqueiro Joseph Goldefeder ficou muito impressionado com o seu desempenho e o presenteou com um raro e precioso violino Guarneri, que foi conservado por ele com o maior carinho por toda a vida.

Logo que a Primeira Guerra Mundial terminou, em 1918, Victor Young voltou para os Estados Unidos, casou-se com sua namorada polonesa e iniciou carreira como concertista de violino. Tocou inicialmente na Sinfônica de Chicago e depois passou a reger orquestras em cinemas de alto luxo. O cinema sonoro ainda estava por vir.

Dois anos mais tarde foi para Hollywood atender a um contrato assinado com Sid Grauman para tocar na Symphony Orchestra. Passou então a se dedicar mais à música popular, no caso o jazz. Por essa época sua música "Sweet Sue" alcançou enorme sucesso e permanece até hoje como um clássico da música americana. Já estava casado pela segunda vez.

Sua fama de maestro de cinemas de luxo, os chamados "palácios" e seu prestígio de compositor, fizeram com que, em 1935, o estúdio de cinema Paramount o convidasse para compor e dirigir as trilhas sonoras de seus filmes. No ano anterior ele já tinha sido contratado pela gravadora de discos Decca, que iniciava suas atividades.

No cinema seria o responsável pela trilha de pelo menos 200 filmes, muitos deles clássicos da Meca do Cinema. Citar mesmo os mais importantes é difícil, tantos foram os que ficaram marcados na memória do público: "Por Quem os Sinos Dobram (For Whom the Bells Tolls)", "Sansão e Dalila (Samson and Delilah)", "O Maior Espetáculo da Terra (The Greatest Show On Earth)", "O Meu Maior Amor (My Foolish Heart)", "Matar ou Morrer (High Noon)", "Os Brutos Também Amam (Shane)"...

Recebeu o Oscar de 1956 pela melhor música de filme não musical. Foi um merecido prêmio póstumo. Ele tinha falecido 4 meses antes e o prêmio foi-lhe conferido pelo filme "A Volta ao Mundo em 80 Dias (Around The World In 80 Days)", da United Artists.

O compositor Victor Young não será menos lembrado. Deixou canções maravilhosas como "Sweet Sue", "My Foolish Heart", "Stella By Starlight", "Love Letters", "Beautiful Love", "Street of Dreams", "Love Me Tonight", "Old Man of The Mountain".

Na música clássica é autor de "Pearls of Velvet" e "Arizona Sketches", entre outras.

Com sua orquestra acompanhou grandes cantores, bastando citar Bing Crosby, Judy Garland e Doris Day.

Victor Young (August 8, 1900 – November 10, 1956) was an American composer, arranger, violinist and conductor. He was born in Chicago.

Young began as a classical composer and concert violinist but moved into the popular music sphere when he joined Ted Fio Rito's orchestra. In the mid-1930s he moved to Hollywood where he concentrated on films, recordings of light music and providing backing for popular singers, including Bing Crosby.

His composer credits include "When I Fall in Love," "Blue Star (The 'Medic' Theme)," "Moonlight Serenade (Summer Love)" from the motion picture The Star (film), "Sweet Sue," "Can't We Talk It Over," "Street of Dreams," "Love Letters," "Around the World," "My Foolish Heart," "Golden Earrings," "Stella By Starlight", and "I Don't Stand a Ghost of a Chance with You."

Young was signed to Brunswick in 1931 where his studio groups recorded scores of popular dance music, waltzes and semi-classics through 1934. His studio groups often contained some of the best jazz musicians in New York, including Bunny Berigan, Tommy Dorsey, Jimmy Dorsey, Joe Venuti, Arthur Schutt, Eddie Lang, and others. He used first-rate vocalists, including Paul Small, Dick Robertson, Smith Ballew, Helen Rowland, Frank Munn, The Boswell Sisters, Lee Wiley and others. One of his most interesting recordings was the January 22, 1932 session containing songs written by Herman Hupfeld "Goopy Geer" and "Down The Old Back Road", which Hupfeld sang and played piano on (his only two known vocals).

In late 1934, Young signed with Decca and continued recording in New York until mid-1936, when he relocated to Los Angeles.

On radio, he was the musical director of Harvest of Stars. He was musical director for many of Bing Crosby's recordings for the American branch of Decca Records. For Decca, he also conducted the first album of songs from the 1939 film The Wizard of Oz, a sort of "pre-soundtrack" cover version rather than a true soundtrack album. The album featured Judy Garland and the Ken Darby Singers singing songs from the film in Young's own arrangements. He also composed the music for several Decca spoken word albums.

He received 22 Academy Award nominations for his work in film, twice being nominated four times in a single year, but he did not win during his lifetime. He received his only Oscar posthumously for his score of Around the World in Eighty Days (1956). His other scores include Golden Boy (1939), For Whom the Bell Tolls (1943), Love Letters (1945), Samson and Delilah (1949), My Favorite Spy (1951), Payment on Demand (1951), The Quiet Man (1952), Scaramouche (1952), Something to Live For (1952), Shane (1953), and Written on the Wind (1956). His last film score was for Omar Khayyam, starring Cornel Wilde, filmed in 1956 and released by Paramount in 1957 after Young's death.

At 56, Victor Young died in Palm Springs, California after a cerebral hemorrhage.

His family donated his artifacts and memorabilia (including his Oscar) to Brandeis University, where they are housed today.

From Wikipedia, the free encyclopedia.