Tommy Garrett - The Best of The 50 Guitars - Volume 1

1. Spanish Eyes
2. Maria Elena
3. South of the Border
4. Besame Mucho
5. Guantanamera
6. Cherry Pink & Apple Blossom White
7. Malaguena
8. Granada
9. Brazil
10. Perfidia
11. La Bamba
12. La Virgen de la Macarena

The 50 Guitars - Volume 1

Born Thomas Lesslie Garrett 5 July 1939, Dallas, Texas

Tommy Garrett was "Snuff" Garrett, A&R director for Liberty from 1958-1966, producer of numerous early 60s hits by white rock-n-roll artists such as Bobby Vee, Johnny Burnette, and Gary Lewis. Garrett also gave Phil Spector his first job in the business, as A&R man in New York for Liberty. He produced a series of LPs for Liberty under the name of "The 50 Guitars of Tommy Garrett," one of the least adventurous and most easy-listening guitar groups, usually arranged by Ernie Wilkins and with Tommy Tedesco as lead guitar. Garrett also produced a number of exotica recordings by "The Midnight String Quartet" and Jonathan Knight on the Viva! label.

Recordings

    * 50 Guitars Go South of the Border, Liberty LSS-14005
    * 50 Guitars Go South of the Border, Volume 2, Liberty LSS-14016
    * 50 Guitars Visit Hawaii, LSS-14022
    * 50 Guitars Go Country, Liberty LSS-14025
    * 50 Guitars Go Italiano, Liberty LSS-14028
    * Maria Elena, Liberty LSS-14030
    * Bordertown Bandido, Liberty LSS-14031
    * Espana, Liberty LSS-14032
    * Return to Paradise, Liberty LSS-14033
    * Love Songs from South of the Border, Liberty LSS-14035
    * Viva Mexico, Liberty LSS-14036
    * 50 Guitars in Love, Liberty LSS-14037
    * 50 Guitars in a Brazilian Mood, Liberty LSS-14038
    * More 50 Guitars in Love, Liberty LSS-14039
    * Six Flags Over Texas, Liberty LSS-14040
    * Our Love Affair, Liberty LSS-14041
    * El Hombre, Liberty LSS-14042
    * The Sound Of Love, Liberty LSS-14044
    * The Best of the 50 Guitars, Liberty LSS-14045
    * Mexican Leather and Spanish Lace, Liberty LSS-14046
    * 50 Guitars for Midnight Lovers, Liberty LSS-14047
    * The 50 Guitars of Tommy Garrett Go South of the Border, Volume 3, United Artists UAS-5528
    * Down Mexico Way, United Artists UA-LA 123-F
    * The Way of Love, United Artists UAS-5569
    * You're a Lady, United Artists UA-LA039-F

Bert Kaempfert - Série Autógrafos de Sucesso

1. Afrikaan Beat
2. Stardust
3. Dancing in the Dark
4. Caravan
5. Unchained Melody
6. Tijuana Taxi
7. My Way of Life
8. Swingin' Safari
9. Blue Moon
10. Wonderland by Night
11. Red Roses for A Blue Lady
12. Besame Mucho

Autógrafos de Sucesso

Dick Haymes - The Very Best of Dick Haymes - Volume 2

1. It Might As Well Be Spring
2. I'm Always Chasing Rainbows
3. Slowly
4. Oh! What It Seemed to Be
5. In Love in Vain
6. For You, For Me, For Evermore
7. How Are Things in Glocca Morra
8. Mam'selle
9. Ivy
10. I Wish I Didn't Love You So
11. And Mimi
12. Teresa
13. Little White Lies
14. You Can't Be True, Dear
15. Nature Boy
16. It's Magic
17. Room Full of Roses
18. Maybe It's Because
19. The Old Master Painter
20. Count Every Star

The Very Best - Vol. 2

Vocal Accompaniment:

Track 13 & 19 with Four Hits And A Miss

Track 14 & 15 with The Song Spinners

Track 18 with The Tafflers

Orchestral Accompaniment:

Tracks 1 & 3 under The Direction of Victor Young

Tracks 2, 4 & 5 under The Direction of Earle Hagen

Tracks 6-9, 11, 13, 16 & 18 under The Direction of Gordon Jenkins

Track 12 under The Direction of Vic Schoen

Track 19 under The Direction of Sonny Burke

Track 20 with Artie Shaw and His Strings and Woodwinds

In the liner notes to the first installment of this two volume Dick Haymes retrospective, we reviewed the path that Haymes followed to lead him through the ranks of the big band era until, when he decided to launch his career as a soloist in 1943, he was instantly transported to the rarefied heights of superstardom. So pervasive was his influence that a number of imitators soon appeared, but we might do well to pause before considering their merits and dwell for a moment on the forces which helped to shape the Haymes approach in the first place.

Like his contemporaries Frank Sinatra and Perry Como, he started out under the inescapable sway of Bing Crosby, the singer who virtually defined the modern popular vocal. In time, Haymes narrowed the focus of his admiration to one of Crosby's ablest disciples, band singer Bob Eberly. "There wasn't a boy singer in the business who had a better voice box than Dick Haymes - not even Bob Eberly, whom Dick worshipped so much", noted George Simon, former 'Metronome' writer and author of "The Big Bands". Simon also recalled that Dick was shocked to witness his idol smoking on the job, a habit he considered unprofessional (though it is sadly ironic to remember that Haymes overcame this aversion, and that lung cancer contributed to his premature death). The early vocal training that Dick received from his mother Marguerite left him acutely aware of all the potential hazards, such as cigarette smoke, improper breathing, and an incorrect stance while performing, that lay in waiting to sabotage a singer's best efforts. This accounts in large part for the technically flawless nature of his mature performances.

Haymes's additions to the Crosby tradition include a strikingly masculine virility and a deep, seamless baritone voice so peculiarly "throaty" in its resonance that members of bandleader Bob Crosby's outfit facetiously nicknamed him "Phlegm". "I remember vividly the impact he had on women in our audiences - and the reactions of their escorts", recalled Dick's former accompanist Bobby Scott. "It created situations of true danger". No one ever caressed a romantic lyric with more warmth and conviction, but before long there were any number of "would-be Dicks" willing to try. The two most prominent graduates of "the Haymes school" were Bob Manning, who scored hits for Capitol Records in the early 1950s, and David Allyn, who stretched the boudaries of the Haymes approach in collaboration with such progressive jazz figures as Boyd Raeburn. Less well-remembered today are singers like Billy Usher, who waxed some fine sides with Sonny Dunham and Randy Brooks (with whom he went so far as to record his own derivative version of "That's For Me") before launching a solo career that failed to catch fire. Genetic happenstance also relegates Dick's younger brother Bob to this group. Bob Haymes, who later changed his professional name to Robert Stanton, made some fine sides with several bands, including those of Bob Chester and Freddy Martin, before abandoning a solo career to concentrate on his songwriting, a move that produced, among many other sensitive compositions, the lovely standard "That's All".

Our present anthology opens on a high note with Dick's definitive reading of "It Might As Well Be Spring" from the soundtrack of Fox's 1945 film musical, 'State Fair'. Another Haymes film, "The Shocking Miss Pilgrim" from 1947, is represented here by the tender duet "For You, For Me, For Evermore" (contractual conflicts prevented his co-star, Betty Grable, from making the record with Dick, so Decca label-mate Judy Garland was pressed into service as a most delightful substitute). "Slowly", though a hit for both Haymes and Kay Kyser, is today a forgotten song that was taken from a 1945 Fox film entitled "Fallen Angel". "Mam'selle", a continental charmer from the Fox film "The Razor's Edge" that topped the charts for both Sinatra and Art Lund in 1947, has proved much more enduring. This winning Haymes performance peaked at #3 (it is interesting to note that later in the same year, Art Lund was again Dick's main competition for chart honors with the similarly Gallic-flavored ballad "And Mimi").

The remaining movie music collected here includes "I Wish I Didn't Love You So" from 'The Perils of Pauline (Paramount, 1947)', and "It's Magic", the musical highlight of Doris Day's screen debut, "Romance on the High Seas (Warner Brothers, 1948)". "Ivy" was the title track of a Unviversal-International picture, and there is acharming story connected with this 1947 Haymes recording. One of Dick's idolaters, Bob Manning, had waxed his own competing version of the tune on the MGM label as boy vocalist with the Ziggy Elman band. When he finally came face to face with his hero backstage at the Steel Pier in Atlantic City, Manning was awestruck to learn that Dick was familiar with his recording. "One of us", Haymes jokingly told the newcomer, "had better change our style".

"I'm Always Chasing Rainbows" from 1945 is the first of three duet performances with Helen Forrest collected here, including "Oh! What It Seemed to Be" from the same session, and "In Love in Vain" from 1946. Dick's early admiration for Bob Eberly makes it worth noting how these recordings parallel a similarly successful collaboration that Eberly enjoyed with Helen O'Connell when both were employed by bandleader Jimmy Dorsey. "Bob Eberly was bigger than all of us, you know, with Jimmy Dorsey", Haymes once gushed to interviewer Fred Hakk. "I mean, hell, when he was singing "Amapola" and "Green Eyes"...and all those things with Helen O'Connell...he was the hottest thing". A significant difference between the pairings, however, is that Haymes and Forrest both explored the same arrangement, while Eberly would typically croon his assignment with Dorsey, to be followed by Helen O'Connell gleefully treating her part as an up-tempo romp.

By the mid-1940s, on both records and the radio, Haymes had embarked on a mutually rewarding collaboration with arranger and conductor Gordon Jenkins. A gifted songwriter and popular recording artist in his own right, as an arranging talent Jenkins had few peers. "Gordon wrote such lovely countermelodies", commented singer John Gary recently, "that you can take the vocal away his arrangements would still stand on their own merits". The 1946 performance of "How Are Things in Glocca Morra?" from Broadway's "Finian's Rainbow" and "Maybe It's Because" from 1949 are perfect illustrations of the always tasteful Haymes-Jenkins partnership. The two men scored their greatest triumph in 1947 with Dick's recording of "Little White Lies". "The truth of the matter is that 'Little White Lies' was an afterthought", Haymes later recalled. At the end of a recording session, with an hour of studio time leftover, Jenkins suggested that the assembled group take a stab at this simple ballad, which had first been popularized by Fred Waring in 1930. He quickly sketched our parts for Dick, the musicians, and the accompanying vocal ensemble, Four Hits & A Miss. To compound matters, legend has it that Haymes was suffering from a bad cold that day, and was anxious to wrap things up. The result was a smash hit that quickly turned gold. "I'm still not in love with the record", Haymes later confessed, "but I must respect it. It was just an accident".

"Teresa" is a pleasant 1947 duet performance that teams Dick with The Andrew Sisters, who later joined forces with Haymes on the 'Club 15' radio program. Four months after this session, the recording ban of 1948 forced Dick to return to the 'a capella' format that brought him his initial Decca success in 1943, and he re-teamed with the Song Spinners to record "You Can't Be True, Dear" and "Nature Boy". "Room Full of Roses" from 1949 is a nice change of pace, with Haymes sounding surprisingly at home on this country classic from the pen of The Sons of The Pioneers' Tim Spencer. "The Old Master Painter" is a rousing novelty that enjoyed quite a vogue in 1950, when no less than six different major label recordings battled for recognition. Our final track, "Count Every Star" from 1950, is a return to the more traditional ballad format. It found Dick paired with Artie Shaw just a few short years before the clarinetist began his self-imposed retirement.

"The peak years were 1946-47", Dick Haymes once reflected. "It was averaging up to $25,000 a week just on record royalties, radio, movies - without even personal appearances. They were paying me as much as $300,000 per movie and I made at least two a year". by the early 1950s, it started to fall apart. Problems with alcohol and a series of high profile divorces took their toll, and the coming of rock and roll certainly didn't help matters. Haymes parted company with Decca and turned out a pair of brilliant albums for Capitol in 1955, but the sad truth is that his visits to the recording studio grew increasingly sporadic in the last two decades of his life. His magnificent voice withstood the tests of time practically unblemished, however, and it is hard to imagine that future generations won't judge us harshly for not making a more concerted effort to capture it for posterity. The shortsightedness of it all makes one shudder (it's like keeping Norman Rockwell from his paints, or depriving John Steinbeck of pen and paper). His final recording efforts in the late 1970s were financed by members of his appreciation society (bless their souls!). When Dick Haymes died in Los Angeles on March 28, 1980, he left behind a legacy that has thrilled millions, and is sure to bring joy to countless more in the future.

Enjoy these recordings, and revel in the ease with which this great artist somehow manages to revive such discarded concepts as romance, chivalry, and innocent, old-fashioned, wide-eyed love. Forget the cares of the moment, and let your imagination run free. After all, whenever you're lost in the special magic of Dick Haymes, it might as well be spring...

(Joseph F. Laredo, from the original liner notes)

Orquestra Românticos de Cuba - Cuba Libre - Volume 2

1. Malagueña
2. Blen! Blen! Blen!
3. Adios, Mariquita Linda
4. Bruca Maniguá
5. Canto Indio
6. Cachita
7. Night Must Fall
8. Rumba Blanca
9. Always in My Heart
10. Tropical Magic

Cuba Libre Vol. 2

Orquestra Românticos de Cuba - Cuba Libre - Volume 1

1. Vereda Tropical
2. Carioca
3. Danse Avec Moi
4. Pa-Ran-Pan-Pan
5. Cerejeira Rosa
6. El Manisero
7. Côte D'Azur
8. Negra Consentida
9. Cubanacan
10. Lamento Borincano

Cuba Libre - Vol. 1

Orquestra Românticos de Cuba - No Cinema Vol. 1

1. Smile / Limelight
2. C'est Magnifique / With A Song in My Heart
3. Love Is A Many Splendored Thing / Unchained Melody
4. The Song from Moulin Rouge / The Last Time I Saw Paris
5. Que Será, Que Será / Gigi
6. Around the World / Tammy
7. Spellbound / Invitation
8. An Affair to Remember / Moonglow
9. Manhã de Carnaval / Mulher Rendeira
10. As Time Goes By / A Woman in Love
11. Three Coins in the Fountain / Laura
12. Colonel Bogey / Love Me or Leave Me

No Cinema Vol. 1

Dick Haymes - The Very Best of Dick Haymes - Volume 1

1. It Can't Be Wrong
2. In My Arms
3. You'll Never Know
4. Wait for Me, Mary
5. I Never Mention Your Name
6. I Heard You cried Last Night and So Did I
7. Put Your Arms Around Me, Honey
8. For the First Time (I've Fallen in Love)
9. Long Ago (And Far Away)
10. How Blue the Night
11. It Had to Be You
12. Together
13. Laura
14. The More I See You
15. I Wish I Knew
16. I'll Buy That Dream
17. Some Sunday Morning
18. Till the End of Time
19. Love Letters
20. That's for Me

The Very Best - Vol. 1

Vocal Accompaniment:

Tracks 2-8 with The Song Spinners

Orchestral Accompaniment:

Track 9 under The Direction of Camarata

Track 10 under The Direction of Lionel Newman

Track 11-16, 18-20 under The Direction of Victor Young

Track 17 under The Direction of Gordon Jenkins

If you love the great American songbook, and sincerely believe that the efforts of our finest writers have produced musical compositions every bit as valid and timeless as the masterworks of Verdi and Puccini, then chances are you hold in your heart the same amount of affection and respect for Dick Haymes that others might reserve for names like Caruso and Gigli. In the 1940s, Dick Haymes emerged as a master balladeer with the most impressive set of pipes since Bing Crosby, and an incredible degree of warmth, control, and technique that can still provoke sighs of admiration today, more than a half-century after some of his finest recordings were made. "I have had uncountable conversations with singers about singers", wrote critic Gene Lees, "and Dick Haymes' name would be on the most-admired list of almost every one of them".

He was born Richard Benjamin Haymes in Buenos Aires, Argentina on September 13. Though numerous reference works list 1916 as the year, our good friends at the Haymes Society insist that this is a long-standing misconception, and the actual year was 1918. His father was a cattle rancher of Scottish and English descent named Benjamin, and his mother was a lovely and accomplished vocalist of Irish stock named Marguerite. The couple divorced after Benjamin was bankrupted by drought, and shortly thereafter Dick and his younger brother Bob (about whom we'll speak more in the notes to Volume II) embarked with their mother on a series of travels that took them to Europe. Contrary to the all-American, boy next door image bestowed on Haymes by his Hollywood musicals, the youngster received quite a cosmopolitan upbringing, studying for a time in Paris and becoming fluent in both Spanish and French. As for his budding vocal talent, the only formal training he ever received came from his mother. This proved a sore point in later years when Marguerite opened a studio and set up shop as a vocal coach, publishing a pamphlet entitled "The Haymes Way" which Dick felt overstated her influence on his development.

Settling in New York in the early 1930s, young Haymes began singing with various local bands at country clubs and New Jersey shore resorts. At the age of 17 he thumbed his way to Los Angeles, where he briefly headed a musical combo dubbed The Katzenjammers, but mostly kept body and soul together with stunt work at various Hollywood studios, falling off horses in B Westerns and such (he reportedly took a seventy-five foot leap from a masthead for the 1935 M-G-M production of "Mutiny on the Bounty"). By age 19 he'd returned to New York, where he decided to impress upon bandleader Harry James the worthiness of his songwriting talent. James was unmoved by such original Haymes compositions as "Lovingly Yours" and "River Road", but he was thrilled by the newcomer's vocal ability and hired him to replace the departing Frank Sinatra. After two years with the James Band, a period which produced such marvelous Columbia recordings as "You've Changed" and "I'll Get By", Haymes worked briefly with Benny Goodman (scoring a hit with "Idaho" in 1942), before he again replaced Frank Sinatra, this time with Tommy Dorsey. Regrettably, a recording ban prevented Haymes from entering the studio with the Dorsey band, and our only significant souvenir of their association is an air check recording of an excellent 1942 rendition of "Daybreak".

Haymes decided to embark on a solo career in 1943, and a major breakthrough soon came his way in the form of a pivotal engagement at New York's La Martinique night club. "All hell broke loose out of there", he later recalled. "I stayed for three months...got a coast-to-coast radio show, got my 20th Century-Fox contract out of there, got my Decca contract out of there". Haymes was signed to replace Buddy Clark on the CBS radio program "Here's to Romance". When he started to record for Decca, however, the lush orchestrations that accompanied his work over the airwaves had to be left behind. The recording ban that had hampered his stay with Dorsey was still in progress (it was the first of two protracted strikes, prompted by a dispute over broadcast royalties, ordered by the American Federation of Musicians' formidable president, James Petrillo). With musicians refusing to enter the studio, Haymes vocals were instead backed by the choral support of a singing group known as the Song Spinners. It was an interesting sound that had yet to be proven commercially viable. Expecting a relatively modest start in such uncharted waters, both Decca and Haymes were delighted when their initial effort, "You'll Never Know", became a number one, million-selling performance. The follow-up, "It Can't Be Wrong", was similarly successful. The first eight sides of this collection were all performed in the 'a capella' style, and in 1943 they were combined to form the A and B-sides of four highly successful singles.

"Long Ago (And Far Away)", a #2 hit from 1944, is the first of eighteen magnificent duet recordings that Dick Haymes made during his Decca years with Helen Forrest, an old friend from his days with Harry James. Miss Forrest also performed with Artie Shaw and Benny Godman, and her warm, melodic vocals left an indelible imprint on the big band era. Her partnership with Haymes was an inspired coupling based on mutual affection and respect. "God, I loved that man!", she recalled in her conversational 1982 autobiography "I Had the Craziest Dream". In my mind, no one ever sang a love song better than Dick, not Sinatra, not anyone". From 1944 to 1947 this partnership was showcased, along with Gordon Jenkins and his Orchestra, on a series of hugely popular radio programs sponsored by the Auto-Lite spark plug company. This collection contains and additional four Haymes-Forrest duets: "It Had to Be You" and "Together", the A and B-sides of a hit single from 1944, and another double-sided success from the following year that joined "I'll Buy That Dream" with "Some Sunday Morning" on the flip side.

" 'How Blue the Night' was a pretty song", is how Dick recalled the lilting Jimmy McHugh-Harold Adamson composition that was featured in "Four Jills In a Jeep", a pleasant cinematic trifle about a U.S.O. tour of Africa that constituted his debut effort for Twentieth Century-Fox in 1944. Haymes soon moved on to grander productions, and the recordings of "The More I See You" and "I Wish I Knew" collected here were featured in an elaborate Fox musical from 1945 entitled "Billy Rose's Diamond Horseshoe". The production paired him for the first time with Betty Grable, the studio's top musical comedy star. Accompanied by Victor Young and his orchestra, Haymes made both titles big hits. For years afterward he employed "The More I See You" to telling effect as the closing song of his nightclub act, setting the scene of youthful innocence for his audiences in which his hopelessly smitten character warbles the tune to Grable, and then delivering the romantic lyric in all its glory.

"Laura" is another memorable piece of film music, though at first it was merely a haunting instrumental theme penned by David Raksin for a 1944 Fox film of the same title. After Johnny Mercer graced the melody with a lyric, it was introduced over the radio by Capitol artist Johnnie Johnston, and provided Woody Herman with a gold record for Columbia in 1945. "Love Letters" is also a movie tune, borrowed from a 1945 Paramount production of the same name. After Haymes made the song a hit that same year, it somehow fell out of the popular repertoire and was seldom heard from again until Kitty Lester revived its tender sentiments in a 1962 recording for Era. "Till the End of Time" followed "Tonight We Love", "My Reverie", and other popular successes in the time-honored tradition of revamping classical music for more contemporary use. the theme was based on Chopin's "Polonaise in A-flat major, Opus 53", which had recently been popularized by Columbia's 1945 film biography of the composer, "A Song to Remember". Ted Mossman retooled the music, while Buddy Kaye added some words. The result was a stirring piece of material that brought Perry Como a #1 RCA hit, while Dick's equally impressive rendition peaked at #3.

The final track in this collection, "That's For Me", comes from what is considered by many admirers to be Dick's finest moment on celluloid, the 1945 Fox adptation of Rodgers and Hammerstein's "State Fair". It remains, in the phrase of movie historian James Robert Parish, "one of the loveliest of film musicals". "It's ironic", Haymes confided to jazz critic Leonard Feather in 1973, "but that wound up being so much my movie that people associate me with performing that entire Rodgers and Hammerstein score. I did "It's A Grand Night For singing" and "Isn't It Kind Fun", but "That's For Me" was introduced by Vivian Blaine, and "It Might As Well Be Spring" was dubbed by Louanne Hogan for Jeanne  Crain". The entire score became indelibly linked with Haymes, however, when Dick's Decca recordings of those numbers assigned to the other performers in the film were paired as both sides of an enormously popular single release in 1945. His renditions of "That's For Me" and "It Might As Well Be Spring" are quite simply the definitive performances. If by now you've decided that this sort of peerless balladeering is indeed for you, then you will be pleased to learn that the latter title has been chosen to open Volume II of the Taragon's label's Dick Haymes retrospective. selected from a stunning array of brilliant performances, there are an additional twenty musical treasures that await your listening pleasure.

(Joseph F. Laredo, from original album notes)

"Faultless" would be a good word to describe this 20-song compilation, which contains every one of Dick Haymes' Top 20 hits from the start of his solo career in 1943 to the fall of 1945, a period when he was one of the most successful recording artists in the U.S. His biggest hit of the period was the gold-selling chart-topper "You'll Never Know," but he also waxed the most popular versions of the Top Ten hits "It Can't Be Wrong," "In My Arms," "Put Your Arms Around Me, Honey (I Never Knew Any Girl Like You)," "I Wish I Knew" and "The More I See You" (the last two from the film Billy Rose's Diamond Horseshoe, in which he starred), and a clutch of duets with Helen Forrest including "Long Ago (And Far Away)," "Together," "I'll Buy That Dream" and "Some Sunday Morning." All are included here in their original Decca recordings. Due to the musicians union recording ban, the first eight tracks were recorded a cappella with a vocal chorus, but with any backing Haymes' smooth voice delivers the songs' romantic sentiments beautifully. There are excellent liner notes by Joseph F. Laredo. Volume 2 is also recommended. ~ William Ruhlmann, All Music Guide

Dick Haymes was one of the most splendid ballad singers of his era, the near-equal of Crosby and Sinatra on classics of the form like "It Can't Be Wrong," "Till the End of Time" and "It Might as Well Be Spring." Though he was unable to cash in during the '50s golden era of adult-pop (due to alcoholism, troubles with the government, and a few tempestuous relationships), Haymes continued performing and recording until his death in 1980.

Born in Buenos Aires in 1918, Haymes was the son of British parents, who at the time were living on the cattle ranch they owned in Argentina. After they separated, he was reared by his mother in Paris before the Depression crippled their finances. He spent the rest of his formative years in the United States, where his mother performed as a singer. Haymes made his own professional debut at the age of 15, singing with a hotel band in New Jersey while on summer vacation. He left school in 1933 to move to Hollywood, and worked as a stuntman or extra on several films during the mid-'30s. After writing a few songs in 1939, he approached Harry James with hopes the bandleader would buy them; though James wasn't very impressed with his songwriting skills, he hired Haymes one year later, to replace Frank Sinatra as his leading male singer.

During 1941-42, Dick Haymes recorded a few hits with James, including "A Sinner Kissed an Angel" and "The Devil Sat Down and Cried." (His biggest hit with James, "I'll Get By (As Long as I Have You)," hit number one in 1944, three years after its recording.) Haymes also sang with Benny Goodman and Tommy Dorsey before signing to Decca in 1943. One of his first singles, "You'll Never Know," hit number one in July 1943. Another, "It Can't Be Wrong," was also a substantial hit at the same time. He moved from extra to starring roles in Hollywood, most notably appearing in 1945's State Fair, and scored a Top Five hit with the Oscar-winning "It Might as Well Be Spring" from the film. Though he never again scored another number one hit, Haymes spent much of the mid-'40s near the top of the charts with the songs "Put Your Arms Around Me, Honey," "Laura," "Till the End of Time" and "That's for Me." He also hosted a radio show with Helen Forrest, and starred in several more films after the success of State Fair.

Though the hits continued until the end of the decade, both Haymes' professional and personal life began to decline. He divorced his wife, actress Joanne Dru, began drinking heavily, and mishandled his finances. Many of his film appearances were panned and he was eventually dropped from his movie and recording contracts. A whirlwind romance and two-year marriage to Rita Hayworth hardly settled things down; when added to immigration and tax troubles, it made for a very obvious low point in the singer's life.

He began a professional comeback in 1955, thanks to a contract with Capitol Records, the foremost label for adult pop. Haymes recorded two LPs for Capitol, Rain or Shine and Moondreams, but continued to be plagued by alcoholism. After moving to Ireland in the early '60s, Haymes finally kicked his drinking habit and returned to recording with 1969's Now and Then, which alternated Haymes classics with more contemporary material. He moved back to America in the '70s, performing numerous club dates and recording a live album at Cocoanut Grove. He last recorded in 1978, and lost his long bout with cancer two years later. ~ John Bush, All Music Guide

Caravelli - Interprete / plays Julio Iglesias

1. Begin the Beguine
2. When I Fall in Love
3. Mes Trente-Trois Ans (33 años)
4. Pauvres Diables (Pobre Diablo)
5. C'Est Ma Vie (Júrame)
6. Fidele (Amantes)
7. All of You
8. Ile Au Soleil (Isla En El Sol / Island in the Sun)
9. Quand Tu N'Es Plus La (Caminito)
10. Je N'Ai Pas Change (No Vengo Ni Voy)
11. To All the Girls I've Loved Before
12. Aimer La Vie (Soy Un Truhán)
13. Ou Est Passee Ma Boheme? (Quiereme Mucho)
14. Abrazame
15. Manuela
16. Il Faut Toujours Un Perdant (Hey)
17. Nathalie
18. Le Monde Est Fou, Le Monde Est Beau (A Veces Tu, A Veces Yo)
19. Une Nuit de Carnaval (Paloma Blanca)
20. J'Ai Besoin de Toi (Cada Dia Mas)

Plays Julio Iglesias

Percy Faith and His Orchestra - Shangri-La!

1. Shangri-La
2. Kashmiri Song
3. The March of Siamese Children
4. Stranger in Paradise
5. Cherry Blossom
6. Song of India
7. Mountain High, Valley Low
8. Beyond the Reef
9. The Moon of Manakoora
10. And This Is My Beloved
11. Sayonara
12. Return to Paradise

Shangri-La!

Shangri-La! has even less legitimacy as a musical journey through the South Seas and the Far East, as its title, referring to a fictional utopia, suggests. These are Faith's arrangements of songs written mostly in Broadway and Hollywood for shows and films set in Asia and the Pacific Rim, such as Kismet and The King and I. The strings weave an alluring mystery, but the music was not made on location. ~ William Ruhlmann, All Music Guide

       

Percy Faith was one of the most popular easy listening recording artists of the '50s and '60s. Not only did he have a number of hit albums and singles under his own name, but Faith was responsible for arranging hits by Tony Bennett, Doris Day, Johnny Mathis, and Burl Ives, among others, as the musical director for Columbia Records in the '50s.

Born and raised in Toronto, Canada, Faith was a child piano prodigy, giving his first recital at Massey Hall at the age of 15 and playing various movie theaters, providing the soundtrack to silent films. His career as a concert pianist was cut short when he injured his hands in a fire when he was 18. Faith moved into arranging, beginning with local, hotel orchestras but quickly moving to radio. It was here where he developed his lush pop-instrumental style. For most of the '30s, he worked on Canadian Broadcast Company. At the end of the decade his radio show, Music by Faith, was also being aired within the United States.

Upset with CBC slashing the budget of his program, Faith moved to Chicago in 1940. Shortly afterward, he relocated to New York; by 1945, he had become an official U.S. citizen. Working for NBC in New York, he arranged and conducted for a number of shows and singers, including Coca-Cola's radio show and Buddy Clark. During the late '40s, he recorded for both Decca and RCA Victor.

Faith joined Columbia Records as musical director and a recording artist in 1950. While he arranged traditional pop songs, as well as show tunes, folk songs, and traditional pop songs for the label's vocalists, Faith became a pioneer of easy listening "mood music" with his own albums. In addition to popularizing the light, orchestrated pop, he was the first to record albums solely consisting of songs from Broadway shows; he also was one of the first mainstream composers/arrangers to experiment with Latin rhythms.

Faith had his first number one single, "Delicado," in 1952. In the mid-'50s, he began composing film scores, beginning with the Oscar-nominated collaboration with George Stoll, Love Me or Leave Me. But he scored his biggest hit of the 1960s with a piece of music written by another film composer. His late-1959 recording of Max Steiner's "The Theme From 'A Summer Place'" became a number one hit in 1960 and earned Faith his first Grammy. As rock & roll took over popular music in the early '60s and his work became more schlocky in format (easy listening arrangements of Beatles and pop/rock songs, etc.), the musical quotient remained high, thanks in large part to Faith's arranging skills and penchant for picking good material. Faith slowly withdrew from a professional career in the late '60s, but continued recording until just before his death in 1976. ~ Stephen Thomas Erlewine & Cub Koda, All Music Guide

Poly e Seu Conjunto - Grandes Sucessos de Poly

1. Delicado
2. Lábios de Mel
3. Orgulho
4. Recusa
5. Moonlight Fiesta
6. Escuta
7. Tico Tico no Fubá
8. Brasileirinho
9. Maracangalha
10. Hawaiian Paradise
11. Moonlight in Rio
12. Hawaiian Dreams

Grandes Sucessos

Ângelo Apolônio, de nome artístico Poli, muitas vezes grafado com Y, Poly (São Paulo, 8 de agosto de 1920 — São Paulo, 10 de abril de 1985) foi um multiinstrumentista (violão, cavaquinho, bandolim, banjo, contrabaixo, viola, guitarra havaiana) & Compositor brasileiro, tendo desde os 10 anos demonstrado habilidade com os instrumentos de cordas.

Começou sua carreira artística na década de 1930, em São Paulo, quando passou a acompanhar cantores populares de então: Januário de Oliveira, Paraguaçu e Arnaldo Pescuma. Em 1937, foi chamado para trabalhar no conjunto Regional da Rádio Difusora paulista, como violonista e solista de cavaquinho e bandolim. Na mesma época, integrou o conjunto vocal Grupo X, que concorria com o Bando da Lua. Compôs sua primeira música em 1939, uma valsa intitulada "Você", com letra de José Roberto Penteado, que nunca foi gravada. Foi esse parceiro que sugeriu o nome artístico Poli, abreviatura de Apolônio.

Em 1940, foi convidado pelo também multiinstrumentista Garoto para trabalhar em seu regional no Rio de Janeiro. Com o Regional de Garoto, atuou no Cassino Copacabana, na Rádio Clube do Brasil, na Rádio Mayrink Veiga e ainda gravou alguns discos. Em 1944, gravou seu primeiro disco solo, tocando guitarra havaiana interpretando os fox-troptes "Deep in the heart of Texas", de Don Swander e June Herchey e "Jingle, jangle, jungle", de J. L. Lilley e F. Loesser. No mesmo ano interrompeu suas atividades musicais para servir à F.E.B. na Itália, só retornando após o fim do conflito.

No ano seguinte gravou, com um conjunto liderado por ele e intitulado Poli e Seus Havaianos o fox-trote "Lime house blues", de Philip Braham e o fox-blue "Isle of dream", de sua autoria. Nessa época, passou uma temporada em Porto Alegre, trabalhando na Rádio Farroupilha, chegando a integrar o Conjunto Farroupilha a convite de Tasso Bangel. Com eles fez excursão pela Europa, Japão e EUA. Retornando ao Brasil, trabalhou em várias boates paulistas, tais como a Clipper e a Roof da Gazeta. Em 1948, gravou ao violão os choros "Sonho divino", parceria com Lupe Ferreira e "Colibri", de sua autoria.

Em 1951, criou o grupo Poli e seu ritmo com o qual gravou tocando guitarra havaiana na Todamérica o beguine "Begin the beguine", de Cole Porter e o fox-trot "Cavaleiros do céu", de Stan Jones. No ano seguinte, gravou com o mesmo grupo o choro "Meteoro", de sua autoria e o bolero "Saudade", de Jaime Redondo. Nesse ano, gravou mais dois discos com ourtro grupo intitulado Poly ( com Y ) e seus Modernistas. No primeiro disco, estavam o baião "Turista" e o chorinho "Dois de junho", de sua autoria. No segundo disco, tocou guitarra havaianano beguine "Jezebel", de Shanklin e no fox-trot "At sundown", de Donaldson. Ainda nesse ano, passou a atuar na gravadora Todamérica acompanhando com seu conjunto gravações de diferentes a começar pela dupla Cascatinha e Inhana na canção "Ave Maraia do sertão" e na toada "Fiz pra você". Fez também acompanhamentos para o Trio de Ébano, Cauby Peixoto; Orlando Dias; Trio Orixá e outros.

Teve gravados em 1953 o samba-canção "Guarujá", com Juracy Rago, pela cantora Inhana; o baião "Terra de Anchieta", com Ado Benatti pela dupla Cascatinha e Inhana e a toada-baião "Aula de amor", com José Caravaggi por Cauby Peixoto. Em 1954, gravou na Todamérica o choro "Apanhei-te cavaquinho", de Ernesto Nazareth e o baião "Coringa", de sua autoria. No ano seguinte, transferiu-se para a gravadora Columbia e gravou com seu conjunto o fox "Dançando com lágrimas nos olhos", de Burke e Dubin, o bolero "Tarde fria", de sua autoria, o fado-fox "Benfica", parceria com Juvenal Fernandes e o samba "Fel", de Betinho e Heitor Carrilho. Em 1956, fez com Henrique Lobo a música "Tarde fria" gravada por Cauby Peixoto no LP "Canção do rouxinol". Em 1957, gravou com seu conjunto o choro "Velha guarda", de José Ramos, o fox-trot "É ou não romântico", de Hart e Rodgers, o mambo "Fiesta", de Samuels e Whitcup e o beguine "Veneno", de sua autoria. No ano seguinte, gravou com seu conjunto as canções "Moonlight fiesta" e "Moonlight in Rio", de sua autoria. Em 1959, lançou pela Columbia o LP "Penumbra - Poli e Seu Conjunto". Nesse ano, tornou-se o primeiro a introduzir a guitarra na música sertaneja na regravação da "Moda da mula preta" pela dupla Torres e Florêncio, com arranjos seus, que também tocou a guitarra havaiana. Também nesse ano, tocou viola caipira no LP "Exaltação à viola", lançado pelo maestro Elcio Alvarez na Chantecler.

Em 1960, gravou pela Chantecler o cateretê "Zíngara", de Joubert de Carvalho; a canção "Noite cheia de estrelas" e a valsa "Lágrimas", de Cândido das Neves; a canção "Serenata", de Vicente Celestino e o "Samba caipira", de Palmeira e Piraci. Nesse ano, gravou pelo selo Sertanejo a cana-verde "Vai de roda", de Palmeira e Teddy Vieira; a guarânia "Condenado", de Palmeira e Alberto Calçada; a cação "Lamento de boiadeiro", de Palmeira e Mário Zan e "Folias de Santos Reis", de Teddy Vieira e Palmeira. Nessa época, seu conjunto tinha como integrantes Henrique Simonetti, na celesta, Carlinhos Maffazzoli no acordeom e Luisinho Schiavo no órgão elétrico.

Em 1961, ainda na Chantecler gravou a valsa "Ave Maria", de Erotides de Campos e o samba "Despedida de Mangueira", de Benedito Lacerda e Aldo Cabral. Nesse ano, gravou no selo Sertanejo a toada "Tristeza do Jeca", de Angelino de Oliveira. Também no mesmo ano, ingressou na Continental e em seu primeiro trabalho na nova gravadora acompanhou com seu conjunto as gravações dos rocks "Rock do saci", de Baby Santiago e Tony Chaves e "Broto legal", dois grandes sucesso do ídolo jovem Demétrius. Acompanhou ainda gravações de Valter Levita, Luiz Roberto e Leila Silva.

Em 1962, gravou com seu conjunto o samba "Castiguei", de Venâncio e Jorge Costa, o bolero "Fica comigo esta noite", de Adelino Moreira e Nelson Gonçalves, a polca "Festa na roça", de Mário Zan e Palmeira e a "Quadrilha do tamanduá", de sua autoria. No ano seguinte, gravou algumas músicas de filmes e seriados famosos na época como "Sukiyaki", "Bonanza" e "Dominique". Em 1964, voltou a tocar viola caipira no LP "Quermesse junina" da Continental.

À época, influenciava, como instrumentista e professor de música, entre outros, Sérgio Dias do Grupo "Os Mutantes". Em 1970, gravou o LP "Sertão em festa", com solos de guitarra havaiana nas músicas "Tristeza do Jeca", de Angelino de Oliveira e "Vai chorando, coração", de Amarilda e Brás Baccarin, além de tocar viola caipira em diversas composições. Gravou, no mesmo ano, outro elepê homenageando os grandes instrumentistas de cordas do Brasil, Canhoto, Jacob do Bandolim e outros. Jacob, conhecido por seu senso hyper crítico, fez elogios ao instrumentista na época do lançamento desse disco.

Discografia

    * Deep in the heart of Texas/Jingle, jangle, jungle (1944) Continental
    * Limehouse blues/Isle of dream (1945) Continental 78
    * Sonho divino/Colibri (1948) Continental 78
    * Begin the beguine/Cavaleiros do céu (1951) Toidamérica 78
    * Meteoro/Saudade (1952) Todamérica 78
    * Turista/Dois de junho (1952) Todamérica 78
    * Jezebel/At sundown (1952) Todamérica 78
    * Anniversary song/Vaidoso (1952) Todamérica 78
    * Nisei/Guarujá (1953) Todamérica 5263
    * Apanhei-te cavaquinho/Coringa (1954) Continental 78
    * Jamie/Stranger in paradise (1955) Todamérica 78
    * Dançando com lágrimas nos olhos/Tarde fria (1955) Columbia 78
    * Benfica/Fel (1955) Columbia 78
    * Velha guarda/É ou não romântico (1957) Columbia 78
    * Fiesta/Veneno (1957) Columbia 78
    * Blue acho/Perambulando (1957) Columbia 78
    * Dark moon/Maracangalha (1957) Columbia 78
    * Moonlight fiesta/Moonlight in Rio (1958) Columbia 78
    * Penumbra-Poli e Seu Conjunto (1959) Columbia LP
    * Zíngara/Noite cheia de estrelas (1960) Chantecler 78
    * Lágrimas/Serenata (1960) Chantecler 78
    * Ouvindo-te/Samba caipira (1960) Chantecler 78
    * Vai na roda/Condenado (1960) Sertanejo 78
    * Lamento de boiadeiro/Folias de Santos Reis (1960) Sertanejo 78
    * Ave Maria/Despedida de Mangueira (1961) Chantecler 78
    * Na fronteira do México/La Paloma (1961) Chantecler 78
    * México/Cavaleiros do céu (1961) Chantecler 78
    * Tristeza do Jeca/Gaúcho eu sou (1961) Sertanejo 78
    * Minha casa/Adeus, Maria (1961) Sertanejo 78
    * Estrela de menino pobre (1962) Chantecler 78
    * Castiguei/Fica comigo esta noite (1962) Continental 78
    * Berlim melody/Norman (1962) Continental 78
    * El suco suco/Siboney (1962) Continental 78
    * Quadrilha do tamanduá/Festa na roça (1962) Continental 78
    * A balada do soldado/Quando setembro chegar (1962) Continental 78
    * Jingle bells/Boas festas (1962) Continental 78
    * Mariquilla/Cláudia (1963) Continental 78
    * Jessica/Benfica (1963) Continental 78
    * Sukiyaki/Bonanza (1963) Continental 78
    * Sertão em festa (1970) LP
    * Dois bicudos não se beijam (1995) Continental CD Póstumo

(Origem: Wikipédia, a enciclopédia livre)

Índios Tabajaras - Vol. 2

1. Always in My Heart
2. El Reloj
3. Moonglow
4. Pajaro Campana
5. As Time Goes By
6. Love Theme from Romeo and Juliet
7. Begin the Beguine
8. Stardust
9. La Novia
10. Theme from Love Story
11. Não Tenho Lágrimas
12. Sentimental Journey
13. Ternura
14. Strangers in the Night
15. Cuando Vuelva A Tu Lado (What A Diff'rence A Day Made)
16. Over the Rainbow
17. Lisboa Antiga
18. Moulin Rouge
19. Amapola
20. Unchained Melody
21. Dança Ritual do Fogo (M. De Falla)

Índios Tabajaras 2

Índios Tabajaras - Vol. 1

1. Maria Helena
2. Luna Rossa
3. La Mer
4. Love Theme from The Godfather
5. Moonlight Serenade
6. Por Que Eres Asi?
7. The High and the Mighty
8. El Condor Pasa
9. Smoke Gets in Your Eyes
10. Raindrops Keep Fallin' on My Head
11. Moonlight and Shadows
12. Garota de Ipanema (The Girl from Ipanema)
13. Love Is A Many Splendored Thing
14. Maria La Ô
15. Tender Is the Night
16. Solamente Una Vez
17. Les Feuilles Mortes
18. Johnny Guitar
19. Blue Moon
20. Frenesi
21. Fantasia Improviso (F. Chopin)

Índios Tabajaras 1

Certainly the most uncommon duo of Brazilian artists to have a solid international career, Los Índios Tabajaras was formed by the brothers Antenor Moreyra Lima (Muçaperê) and Natalício Moreyra Lima (Erundi). In the U.S. they had success in the early '70s with "Sakura-Sakura," and their biggest hit was the fox trot "Maria Helena," which won second place at the American charts and sold over one-and-a-half million copies. Their 48 LPs also sold millions of copies worldwide, and they toured South, Central, and North America, Asia, and Europe before settling in the U.S. Their eclectic act gathered Rimsky-Korsakoff, Chopin, De Falla, and Villa-Lobos with folk tunes and originals, performed in tuxedo and also half-naked with Indian ornaments. In the '60s, they also performed successfully at the San Remo Festival (Italy). Both self-taught musicians, they took their first contact with the violão (guitar) during their journey through the hinterlands of Cariri, Ceará, but had to give it away for a pound of beans. Having both studied music later, Muçaperê was accompanied in the recording of his "Their Very Special Touch" by a full symphonic orchestra and vocal choir.

Indians from the Tabajara tribe, they left Ceará with their people in 1933, traveling on foot the almost 2,000 km to Rio de Janeiro. During the three years spent on the journey, they collected a number of regional musics. In Rio de Janeiro they were registered and baptized by the lieutenant Hildebrando Moreira Lima, from whom they took their Christian names. Their first public performance was in 1945, at the Rádio Cruzeiro do Sul (Rio de Janeiro), when they were introduced as Índios Tabajaras, having been hired by the outing. In 1953, they recorded an album through Continental with the baião "Tambor Índio" and the galope "Acara Cary" (both by Muçaperê). In the next year they had success with the polka "Pajaro Campaña" (public domain). After recording several other albums, they left in 1957 for a tour through Argentina, Venezuela, and Mexico. Having both studied music in the latter, Erundi wrote several classic pieces for guitar during that period . Moving on to the U.S., they performed for three years in that country, and returned to Brazil in 1960. They continued to move around, but ended up back in Brazil in 1968, where they recorded an album of Hawaiian songs; they moved to the U.S. soon afterwards. ~ Alvaro Neder, All Music Guide

Frank Sinatra with the Tommy Dorsey Orchestra - The Essential - Volume 5

1. Theme: I'm Getting Sentimental Over You
2. Who?
3. I Hear A Rhapsody
4. I'll Never Smile Again
5. Half-Way Down the Street
6. Some of Your Sweetness (Got Into My Heart)
7. Once in A While
8. A Little in Love
9. It Came to Me
10. Only Forever
11. Marie
12. Yearning
13. How Am I to Know
14. You're Part of My Heart
15. Announcements
16. You're Stepping on My Toes
17. You Got the Best of Me
18. That's How It Goes
19. When Daylight Dawns
20. When Sleepy Stars Begin to Fall
21. Goodbye Lover, Goodbye
22. One Red Rose
23. The Things I Love
24. In the Blue of Evening
25. Just As Though You Were Here
26. Frank Sinatra's Farewell to the Tommy Dorsey Orchestra
27. The Song Is You

Frank Sinatra with the Tommy Dorsey Orchestra - The Essential - Volume 4

1. Poor You
2. I'll Take Tallulah
3. The Last Call for Love
4. Somewhere A Voice Is Calling
5. Just As Though You Were Here
6. Street of Dreams
7. Take Me
8. Be Careful, It's My Heart
9. In the Blue of Evening
10. Dig Down Deep
11. There Are Such Things
12. Daybreak
13. It Started All Over Again
14. Light A Candle in the Chapel
15. Too Romantic (Take 2)
16. Shake Down the Stars (Take 2)
17. Hear My Song Violetta (Take 2)
18. You're Lonely and I'm Lonely (Take 3)
19. Our Love Affair (Take 2)
20. Violets for Your Furs (Take 2)
21. The Night We Called It A Day
22. The Lamplighter's Serenade
23. The Song Is You
24. Night and Day

Frank Sinatra with the Tommy Dorsey Orchestra - The Essential - Volume 3

1. Dolores
2. Without A Song
3. Do I Worry
4. Everything Happens to Me
5. Let's Get Away from It All
6. I'll Never Let a Day Pass By
7. Love Me As I Am
8. This Love of Mine
9. I Guess I'll Have to Dream the Rest
10. You and I
11. Neiani
12. Free for All
13. Blue Skies
14. Two in Love
15. Pale Moon (And Indian Love Song)
16. I Think of You
17. How Do You Do Without Me?
18. A Sinner Kissed An Angel
19. Violets for Your Furs
20. The Sunshine of Your Smile
21. How About You
22. Snootie Little Cutie

Frank Sinatra with the Tommy Dorsey Orchestra - The Essential - Volume 2

1. Whispering
2. Trade Winds
3. The One I Love (Belongs to Somebody Else)
4. The Call of the Canyon
5. Love Lies
6. I Could Make You Care
7. The World Is in My Arms
8. Our Love Affair
9. Looking for Yesterday
10. Tell Me at Midnight
11. We Three (My Echo, My Shadow and Me)
12. When You Awake
13. Anything
14. Shadows on the Sand
15. You're Breaking My Heart All Over Again
16. I'd Know You Anywhere
17. Do You Know Why?
18. Not So Long Ago
19. Stardust
20. Oh! Look at Me Now
21. You Might Have Belonged to Another
22. You Lucky People, You
23. It's Always You
24. I Tried

Frank Sinatra with the Tommy Dorsey Orchestra - The Essential - Volume 1

1. The Sky Fell Down
2. Too Romantic
3. Shake Down the Stars
4. Moments in the Moonlight
5. I'll Be Seeing You
6. Say It
7. Polka Dots and Moonbeams
8. The Fable of the Rose
9. This Is the Beginning of the End
10. Hear My Song Violetta
11. Fools Rush in (Where Angels Fear to Tread)
12. Devil May Care
13. April Played the Fiddle
14. I Haven't the Time to Be A Millionaire
15. Imagination
16. Yours Is My Heart Alone
17. You're Lonely and I'm Lonely
18. East of the Sun (And West of the Moon)
19. Head on My Pillow
20. It's A Lovely Day Tomorrow
21. I'll Never Smile Again
22. All This and Heaven Too
23. Where Do You Keep Your Heart

The teaming of Frank Sinatra and Tommy Dorsey amounts to one of the most significant partnerships in the history of popular music. In only two years and nine months, the entire past and future of American pop would be determined, as the greatest big band of the swing era gave birth to the most spectacularsinging career of all time. Dorsey begat Sinatra, and what incredible music they made the process!

Working with Dorsey, said Sinatra, "was a real education for me - in every possible way". The Chairman of the Board has often spoken of how much he learned from Dorsey, beginning with the trombonist's famous "long-breath" technique. In fact, Sinatra cites this as the single most important element of his own style - the one that allowed him to create such a sensation upon going out as a "single" at the end of 1942. But Sinatra learned more from Dorsey than merely how to phrase a melody - he gleaned his senses of timing, drama and much of his musical presence from the great Sentimental Gentleman of Swing.

Even apart from their historical significance, the 87 selections recorded by Tommy Dorsey and his Orchestra, with vocal refrain by Frank Sinatra, represent some of the greatest examples of pop music and jazz ever. The songs on this collection include many all-time standards, including the million-selling "I'll Never Smile Again" and "Everything Happens to Me". Many of these immediately became Sinatra classics - works he prized so highly that he would eventually re-record them later in his career. Other songs - "The Beginning of the End", "Dolores" and "The World Is In My Arms" - are obscure gems, great songs which were not played beyond their original era and are still fresh for us to enjoy 50 years later. While the band includes such instrumental luminaries as Buddy Rich, Ziggy Elman and Bunny Berigan, Sinatra's vocal co-stars include Connie Haines, Jo Stafford and The Pied Pipers.

As great as this music is and as highly regarded as it has been for the last 50 years, it's still surprising that the Sinatra/Dorsey sessions have never been assembled into one definitive edition.

Even though a 1982 six LP set won a Grammy for Best Historical Reissue, this is the first time in 52 years that anyone has evaluated every single metal part that exists in RCA's Indianapolis vault. In just over a decade, restoration techniques have so improved that THE ESSENTIAL is sonically light years ahead of any previous reissues on the label. Up to six different restorative processes have been used on each track to provide the best ever sounding Sinatra without in any way affecting the artistic integrity of the original recording.

THE ESSENTIAL is a remarkable treasure for both fans of great singing and big band music. When Tommy Dorsey and Frank Sinatra got together, they weren't only making records, they were making history.

(From the original liner notes)

Thelonious Monk - The Jazz Masters - 100 anos de Swing

1. Off Minor
2. Epistrophy
3. Well You Needn't
4. Ruby, My Dear

The Jazz Masters

Personnel :

Thelonious Monk - piano

Coleman Hawkins - tenor sax

John Coltrane - tenor sax

Ray Colepand - trumpet

Gigi Gryce - alto sax

Wilbur Ware - bass

Art Blakey - drums

The most important jazz musicians are the ones who are successful in creating their own original world of music with its own rules, logic, and surprises. Thelonious Monk, who was criticized by observers who failed to listen to his music on its own terms, suffered through a decade of neglect before he was suddenly acclaimed as a genius; his music had not changed one bit in the interim. In fact, one of the more remarkable aspects of Monk's music was that it was fully formed by 1947 and he saw no need to alter his playing or compositional style in the slightest during the next 25 years.

Thelonious Monk grew up in New York, started playing piano when he was around five, and had his first job touring as an accompanist to an evangelist. He was inspired by the Harlem stride pianists (James P. Johnson was a neighbor) and vestiges of that idiom can be heard in his later unaccompanied solos. However, when he was playing in the house band of Minton's Playhouse during 1940-1943, Monk was searching for his own individual style. Private recordings from the period find him sometimes resembling Teddy Wilson but starting to use more advanced rhythms and harmonies. He worked with Lucky Millinder a bit in 1942 and was with the Cootie Williams Orchestra briefly in 1944 (Williams recorded Monk's "Epistrophy" in 1942 and in 1944 was the first to record "'Round Midnight"), but it was when he became Coleman Hawkins' regular pianist that Monk was initially noticed. He cut a few titles with Hawkins (his recording debut) and, although some of Hawkins' fans complained about the eccentric pianist, the veteran tenor could sense the pianist's greatness.

The 1945-1954 period was very difficult for Thelonious Monk. Because he left a lot of space in his rhythmic solos and had an unusual technique, many people thought that he was an inferior pianist. His compositions were so advanced that the lazier bebop players (although not Dizzy Gillespie and Charlie Parker) assumed that he was crazy. And Thelonious Monk's name, appearance (he liked funny hats), and personality (an occasionally uncommunicative introvert) helped to brand him as some kind of nut. Fortunately, Alfred Lion of Blue Note believed in him and recorded Monk extensively during 1947-1948 and 1951-1952. He also recorded for Prestige during 1952-1954, had a solo set for Vogue in 1954 during a visit to Paris, and appeared on a Verve date with Bird and Diz. But work was very sporadic during this era and Monk had to struggle to make ends meet.

His fortunes slowly began to improve. In 1955, he signed with Riverside and producer Orrin Keepnews persuaded him to record an album of Duke Ellington tunes and one of standards so his music would appear to be more accessible to the average jazz fan. In 1956 came the classic Brilliant Corners album, but it was the following year when the situation permanently changed. Monk was booked into the Five Spot for a long engagement and he used a quartet that featured tenor saxophonist John Coltrane. Finally, the critics and then the jazz public recognized Thelonious Monk's greatness during this important gig. The fact that he was unique was a disadvantage a few years earlier when all modern jazz pianists were expected to sound like Bud Powell (who was ironically a close friend), but by 1957 the jazz public was looking for a new approach. Suddenly, Monk was a celebrity and his status would not change for the remainder of his career. In 1958, his quartet featured the tenor of Johnny Griffin (who was even more compatible than Coltrane), in 1959 he appeared with an orchestra at Town Hall (with arrangements by Hall Overton), in 1962 he signed with Columbia and two years later was on the cover of Time. A second orchestra concert in 1963 was even better than the first and Monk toured constantly throughout the 1960s with his quartet which featured the reliable tenor of Charlie Rouse. He played with the Giants of Jazz during 1971-1972, but then in 1973 suddenly retired. Monk was suffering from mental illness and, other than a few special appearances during the mid-'70s, he lived the rest of his life in seclusion. After his death it seemed as if everyone was doing Thelonious Monk tributes. There were so many versions of "'Round Midnight" that it was practically a pop hit! But despite the posthumous acclaim and attempts by pianists ranging from Marcus Roberts to Tommy Flanagan to recreate his style, there was no replacement for the original.

Some of Thelonious Monk's songs became standards early on, most notably "'Round Midnight," "Straight No Chaser," "52nd Street Theme," and "Blue Monk." Many of his other compositions have by now been figured out by other jazz musicians and are occasionally performed including "Ruby My Dear," "Well You Needn't," "Off Minor," "In Walked Bud," "Misterioso," "Epistrophy," "I Mean You," "Four in One," "Criss Cross," "Ask Me Now," "Little Rootie Tootie," "Monk's Dream," "Bemsha Swing," "Think of One," "Friday the 13th," "Hackensack," "Nutty," "Brilliant Corners," "Crepuscule With Nellie" (written for his strong and supportive wife), "Evidence," and "Rhythm-a-Ning," Virtually all of Monk's recordings (for Blue Note, Prestige, Vogue, Riverside, Columbia, and Black Lion) have been reissued and among his sidemen through the years were Idrees Sulieman, Art Blakey, Milt Jackson, Lou Donaldson, Lucky Thompson, Max Roach, Julius Watkins, Sonny Rollins, Clark Terry, Gerry Mulligan, John Coltrane, Wilbur Ware, Shadow Wilson, Johnny Griffin, Donald Byrd, Phil Woods, Thad Jones, and Charlie Rouse. His son Thelonious Monk, Jr. (T.S. Monk) has helped keep the hard bop tradition alive with his quintet and has headed the Thelonious Monk Institute, whose yearly competitions succeed in publicizing talented young players. ~ Scott Yanow, All Music Guide

Os Carbonos - Tema para Jovens Namorados

1. Gerônimo (Hank Marvin)
2. My Love for You (S. Wayne - A. Silver)
3. Only You (B. Ram - A. Rand)
4. Look for A Star (Mark Anthony)
5. What A Wonderful World (G. Weiss - B. Thiele)
6. Theme for Young Lovers (Percy Faith)
7. The Millionaire (Max Maxfield)
8. Smoke Gets In Your Eyes (O. Harbach - J. Kern)
9. Midnight (Hank Marvin - Bruce Welch)
10. Theme for Young Lovers (Bruce Welch)
11. The End (J. Krondes - S. Jacobson)
12. Blue Star (Victor Young)

Jovens Enamorados

Grupo formado no início da década de 1960 em São Paulo.

Foi um dos conjuntos pioneiros na reprodução fiel de sucessos, fazendo o que atualmente se convencionou chamar de "cover".

Integrado por três irmãos, sendo dois gêmeos, que eram sobrinhos dos Trigêmios Vocalistas.

Apresentaram-se como The Witchcraft, depois como Os Quentes,com o qual lançou um compacto pelo selo Mocambo/Rozenblit.

Em 1966, por sugestão da gravadora Beverly, adotou o nome Os Carbonos, referência tanto à aparência semelhante dos irmãos, como à opção do conjunto por fazer versões idênticas de sucessos e tiveram vários discos nessa linha.

Em 1968 lançou pela Beverly o LP "As 12 mais da juventude".

Ao longo da década de 1970, modificaram o nome diversas vezes. Apresentaram-se como Andróides, The Mackenzie Group, Carbono 14 e The Magnetic Sounds neste último, gravou a série de LPs "Super Erótica".

Formação:

Mário Bruno Carezzato - São Paulo - 1942: teclados

Umberto Carezzato Sobrinho - São Paulo - 1946: baixo

Raul Carezzato Sobrinho - São Paulo - 1946: vocal

Ricardo Fernandes de Morais - São Paulo - guitarra

Antônio Carlos de Abreu - São Paulo - 1946: bateria

(from Wikipedia)

Ray Conniff and His Orchestra and Chorus - Concert in Rhythm Volume II

1. Lieberstraum (F. Liszt)
2. Dein Is Mein Ganzes Herz Allein (F. Lehar)
3. None but the Lonely Heart (Tchaikovsky)
4. I'll See You Again (N. Coward)
5. Dalilas - Aria from "Samson and Dalida" (C. Saint-Saens)
6. Poema (Fibich)
7. Warshaw Concerto (R. Addinsell)
8. Nocturne in Mi Bemol (F. Chopin)
9. Dance of the Sugarplum Fairy from "Nutcracker" (Tchaikovsky)
10. Theme from 6th Symphony (Tchaikovsky)
11. Piano Concerto in La Minor (E. Grieg)
12. Aria from "Madame Butterfly" (G. Puccini)

Concert in Rhythm 2

Ray Conniff and His Orchestra and Chorus - Concert in Rhythm

1. Favorite Theme from Tchaikovsky's First Concerto
2. Favorite Theme from Tchaikovsky's Swan Lake
3. Favorite Theme from Rachmaninoff's Second Piano Concerto
4. Favorite Theme from Tchaikovsky's Fifth Symphony
5. Early Evening (Ray Conniff)
6. Love Theme from Tchaikovsky's Romeo and Juliet
7. Rhapsody in Blue (G. Gershwin)
8. I'm Always Chasing Rainbows (Carroll, McCarthy)
9. The Lamp Is Low (M. Ravel)
10. On the Trail (F. Grofé)
11. My Reverie (Larry Clinton)
12. Schubert's Serenade

Concert in Rhythm 1

Ray Conniff's fourth studio album, Concert in Rhythm, delved into the field of "serious" music to create pop-oriented adaptations of classical compositions. The idea, judging from Conniff's statements over the years, was not to bring greater sophistication to pop music, but to make the classics more palatable to a lay audience. The roughly contemporaneous 101 Strings album, Back Beat Symphony, made a similar attempt but with more overt rock elements, whereas Conniff kept his rhythm section at a subtle level and achieved perhaps his purest blend of voices and instruments, particularly on "Theme From Swan Lake Ballet." Tchaikovsky is a favorite source of material for this album, but Conniff also leans on Rachmaninoff and popular adaptations of classical pieces, such as "The Lamp Is Low," a 1939 hit for Tommy Dorsey based on Ravel's "Pavanne for a Dead Princess." Conniff cheekily inserts his "Theme From Ray Conniff Suite" amid the classics, and closes with Schubert's "Serenade," bringing up the drums and chorus to a more typical level. The Top Ten success of Concert in Rhythm prompted a sequel, 1960's Concert in Rhythm, Vol. 2. ~ Greg Adams, All Music Guide 

The man who popularized wordless vocal choruses and light orchestral accompaniment on a mix of popular standards and contemporary hits of the 1960s, Ray Conniff was a trombone player for Bunny Berigan's Orchestra and Bob Crosby's Bobcats before being hired as an arranger by Mitch Miller for Columbia Records in 1954. After he wrote the charts for several sizeable Columbia hits during the mid-'50s, Conniff became a solo artist as well, applying his arranging techniques to instrumental easy listening for the booming adult album market. The result, 12 Top Ten LPs and well over 50 million total albums sold, cemented his status as one of the top LP sellers of all time, but his increasingly watered-down and commercially focused arrangements gained few young fans by the end of the '60s. Though he continued recording and touring the world into the '90s, Conniff's albums slipped off the charts in the early '70s.

Born in November 1916 in Attleboro, MA, Ray Conniff gained much of his musical experience inside the home. His father, a trombone player, led a local band, while his mother played the piano. Ray began leading a local band while in high school -- picking up the trombone for the first time not long before -- and began writing arrangements for it; after graduation, he moved to Boston and began playing with Dan Murphy's Musical Skippers (besides playing and arranging, Conniff drove the band around). By the mid-'30s, he was ready for the big time, landing in New York just after the birth of the fertile swing era. He comped around Manhattan for several years, and by 1937 landed an arranging/playing job with Bunny Berigan. Two years later, he moved to Bob Crosby's Bobcats, one of the hottest bands of the time, though Conniff stayed for only a year before joining up with Artie Shaw and later Glen Gray.

With the advent of American involvement in World War II by 1941, Conniff joined the Army, though the closest he came to Wake Island was Hollywood, where he worked as an arranger with Armed Forces Radio. At the end of the war, Conniff worked with Harry James but lost interest in arranging when bop moved to center stage during the late '40s. Completely divorced from the music business, he studied conducting and music theory during the early '50s, emerging by 1954 to accept a position with Columbia Records and notorious pop producer Mitch Miller. The following year, he put his theories to practice with Don Cherry (the vocalist, not the jazz trumpeter) on a Top Five hit, "Band of Gold." Close on its heels were some more big hits of 1956-1957, including the number ones "Singing the Blues" by Guy Mitchell and "Chances Are" by Johnny Mathis, plus Top Five entries by Johnnie Ray ("Just Walking in the Rain"), Frankie Laine ("Moonlight Gambler"), and Marty Robbins ("A White Sport Coat [And a Pink Carnation]"). Columbia, undoubtedly ecstatic over the success of its arranger, agreed to let Conniff record an instrumental album, and the result, 'S Wonderful (1956), spent months on the album charts. With a similar intent (though far tamer results) to Lambert, Hendricks & Ross' album of the same year, Sing a Song of Basie -- which transcribed classic Basie orchestra solos into vocal parts -- Conniff arranged parts for an easygoing chorus of singers just as he had with instrumentalists in the past. 'S Wonderful was background instrumental music for adults who still liked to hear the human voice, and the technique grew to define the "Muzaky" feel of much of the adult pop of the 1950s and '60s.

During the rest of the late '50s, four Ray Conniff albums reached the Top Ten, led by the gold-certified 'S Marvelous and Concert in Rhythm. Conniff did well in the early '60s as well, with popular theme albums like Say It with Music (A Touch of Latin), Memories Are Made of This, So Much in Love, 'S Continental, and We Wish You a Merry Christmas, which continued to chart during the holiday season of the next six years after its 1962 release date. The rise of rock & roll in the mid-'60s obviously hurt Conniff's record sales, though in 1966 the inclusion of "Lara's Theme" in the film Doctor Zhivago resulted in Conniff's only significant singles-chart placing at number nine, and a million-selling album with Somewhere My Love. During the late '60s, he began to include the softer side of rock and Bacharach-David pop into his repertoire, with artists from Simon & Garfunkel to the Carpenters and the Fifth Dimension all receiving the Conniff treatment (alongside more questionable attempts, such as "Theme from 'Shaft'"). He continued to record albums and perform to his large Latin American audience into the '90s. On October 12, 2002, Conniff passed away after falling down and hitting his head. He had suffered a stroke months prior, but his health had continued to deteriorate. He was 85. ~ John Bush, All Music Guide

Paul Mauriat and His Orchestra - Chitty Chitty Bang Bang - Vol. 8

1. Chitty Chitty Bang Bang
2. Puisque Tu M'Aimes
3. Monja
4. Siffler Sur La Coline (Uno Tranquilo)
5. Abraham, Martin and John
6. Elenore
7. Those Were the Days
8. J'Ai Peur Je T'Aime
9. Un Rayon De Soleil
10. Hey Jude
11. Cent Mille Chansons
12. I Say A Little Prayer

Chitty Chitty Bang Bang

The John Morgan Orchestra - Romantic Strings

1. Moon River
2. Plaisir D'Amour
3. Believe Me If All Those Endearing Young Charms
4. As Time Goes By
5. Solvejg's Song
6. Jeannie with the Light Brown Hair
7. Beautiful Dreamer
8. Come Where My Love Lies Dreaming
9. La Vie En Rose
10. Drink to Me Only with Thyne Eyes
11. Chopin's Nocturne
12. I'm Falling in Love with Someone
13. Mighty Lak' A Rose
14. 'Tis the Last Rose of Summer
15. Love Is A Many Splendored Thing

Romantic Strings

The 101 Strings Orchestra - The Soul of Israel

1. Havah Nagilah
2. Haganeh Patrol
3. Eili Eili
4. Medley: Tzena, Tzena, Tzena Hevenu / Shalom Alechem
5. Hatkivah
6. Kibbutz Wedding
7. Kol Nidrei
8. A Land Reborn
9. My Yiddish Momme
10. Exodus
11. Simchas Torah (Kibbutz Festival)
12. Oif'n Pripetchok
13. Vigele Lidele (Cradle Song)
14. Donnav Chvallin (Anniversary Song)
15. Schluf Mein Kind Schluf (Sleep, My Child, Sleep)

One of the most prolific and reliable names in instrumental easy listening music, the 101 Strings Orchestra has literally recorded hundreds of albums since its inception in 1957. Their trademark sound is built on a reverence for melody, pristine production, and a pleasant, relaxing ambience; while occasional albums have concentrated on brass, piano, guitars, and even mild rock & roll rhythms, the string section -- true to the group's name -- nearly always remains front and center, because of its lush, soothing sound qualities. Most of their albums were built around some unifying theme, whether the work of a well-known artist or songwriter, a specific topic (patriotism, holidays, et al.), TV/ movie themes, songs from a particular country, revampings of familiar tunes from other genres, and so on. The group was founded by producer/engineer Dick L. Miller, who was searching for a way to mimic the sound and style of orchestras led by "name" conductors like Mantovani, without the expense involved in securing their services. He hit upon the idea of recruiting unknown European groups at a much lower cost, and made the 101 Strings Orchestra into something of a brand name (since the personality of the group rested with the arrangements, the individual musicians were somewhat interchangeable, so long as they could play in the preset style). The orchestra's first home was Miller's own Somerset label and their first arranger was Robert Lowden; he was followed by Joseph Kuhn and Monte Kelly in turn, all of whom wrote occasional original numbers as well. In 1964, Miller sold the whole 101 Strings package to the Alshire label, which continued to turn out product with assembly line regularity over the next few decades. During their first decade, the 101 Strings would occasionally offer a more experimental album as a change of pace, but that all stopped after their fan base's reaction to 1968's futuristic and at times unsettling Astro Sounds From Beyond the Year 2000 (which became a sought-after item among latter-day space age pop fans). In 1995, Madacy Entertainment purchased the Alshire label and began reissuing a great deal of the 101 Strings back catalog on CD, not to mention new material. ~ Steve Huey, All Music Guide

The Soul Of Israel