Berry Benton - Lovin' Motel - Volume 1

1. Senza Fine
2. That Old Black Magic
3. Baubles, Bangles And Beads
4. Call Me Irresponsible
5. Mr. Lucky
6. Days Of Wine And Roses
7. I've Got You Under My Skin
8. Stormy Weather
9. Autumn Leaves
10. Don't Misunderstand
11. Speak Low
12. I Left My Heart In San Francisco

Lovin' Motel

The Strings of Paris - Love Story - Conducted by Jean Paul de La Tour

1. Love Story
2. Misty
3. Something
4. Tristeza
5. A Star Is Born
6. C'Est Si Bon
7. Cry Me A River
8. September Morn'
9. By the Sleep Lagoon
10. I Only Have Eyes for You
11. Give Me Back My Love
12. Blue Moon
13. Paloma Peceña
14. Nature Boy
15. Lady Di
16. American Patrol

Love Story

Billy Vaughn and His Orchestra - Melodies of Love

1. Solitaire
2. Simple Life
3. Sail the Summer Winds
4. Take Me Home, Country Roads
5. Yesterday Once More
6. Another Somebody Done Somebody Wrong Song
7. The Hustle
8. Sunshine of My Shoulders
9. We May Never Love Like This Again
10. My Melody of Love
11. Have You Never Been Mellow
12. Only Yesterday

Melodies of Love

The Melachrino Strings & Orchestra - I Love Paris - com o Trio Musette de Paris

1. I Love Paris
2. April in Paris
3. La Seine
4. The Song from Moulin Rouge
5. J'attendrai
6. C'est si Bon
7. Clopin Clopant
8. The Poor People of Paris
9. La Mer (Beyond the Sea)

I Love Paris

Sempre novo... Sempre francês... Sempre encantador...

É Paris. É a música de Melachrino nesta encantadora coleção de canções francesas. Participa também nesta gravação o Trio Musette de Paris.

O sucesso de Cole Porter "I Love Paris" é adornado por Melachrino sem perder, no entanto, a graça do arranjo original. "April in Paris" mostra todo o talento do maestro ao arranjar suas músicas.

"La Seine" faz com que a gente sinta a mágica que o tradicional rio.

"J'attendrai" é a impressão orquestrada que Melachrino tem de um flerte no caminho que leva aos Champs Eliseés.

"C'est si Bon" (It's So Good) é mais do que envolvente. É um perfeito diálogo entre o Trio Musette e a orquestra e "Clopin Clopant" é uma das canções mais melodiosas do LP.

"Poor People of Paris" fala dos pobres de Paris. Trata-os como se fossem artistas e tenta mistificá-los.

Em "La Mer" Melachrino põe ao alcance de nossos ouvidos os mais fantásticos sons. E a música que Charles Trenet criou renasce com este arranjo.

Em retrospecto, "I Love Paris" é a carta de amor que Melachrino dedica à cidade das luzes - uma carta escrita com apreciável carinho. E selada com um beijo.

(Extraído das notas originais do LP)

Paulo Moura e os batutas - Pixinguinha

1. Ainda me Recordo
2. Segura Ele
3. Proezas de Solon
4. Cochichando
5. Ingênuo
6. Lamentos
7. Carinhoso
8. Mistura e Manda
9. Batuque na Cozinha
10. Oito Batutas
11. Pelo Telefone
12. Rosa
13. Naquele Tempo
14. Vou Vivendo
15. Um a Zero
16. Urubu Malandro

Pixinguinha

Paulo Moura - Sopros e arranjos
Jorge Simas - Violão
Márcio - Cavaquinho
Jorginho - Pandeiro
Jovi - Percussão
Marçalzinho - Percussão
Zé da Velha - Trombone
Joel do Nascimento - Bandolim

Vencedor do Prêmio Sharp de Melhor Grupo
de Música Instrumental de 1997 e de Melhor Produtor
de Música Instrumental de 1997 para Paulo Moura

Moura was born in São José do Rio Preto, where his father was the maestro of a marching band. He studied in the National Music School and performed with the Brazilian Symphonic Orchestra. He was the first black artist to become first clarinetist in the Municipal Theatre Orchestra. He appeared at Bossa Nova night at Carnegie Hall in 1962 with Sérgio Mendes, the two of them also featuring on Cannonball Adderley's 1962 album, Cannonball's Bossa Nova. He won the Sharp Award for the most popular instrumentalist of the year in 1992. His CD "Paulo Moura e Os Oito Batutas" was listed by Barnes & Noble as one of the top 10 recommendations of the year for 1998. From 1997 to 1999, he was on the State Council of Culture in Rio de Janeiro, a Councillor of the Federal Council of Music, and President of the Museum Foundation of Image and Sound. In 2000, Moura became the first Brazilian instrumentalist to win the Latin Grammy.

Paulo Moura passed away on July 12, 2010, in the hospital he was being treated since July 4 due to lymphoma.

(From Answers.com)

O músico Paulo Moura, 77, morreu no fim da noite desta segunda-feira na Clínica São Vicente, no Rio. Segundo a instituição, ele tinha linfoma (câncer do sistema linfático) e estava internado desde 4 de julho.

Clarinetista e saxofonista, Moura era considerado um dos principais nomes da música instrumental no Brasil e tocou com Ary Barroso, Dalva de Oliveira e Elis Regina, entre outros.

O músico nasceu em 1933, em São José do Rio Preto (interior de São Paulo) e começou a estudar música aos nove anos, incentivado pelo pai e irmãos -- também músicos. Aos 11 anos, começou a tocar no conjunto de seu pai - Pedro Moura - em bailes populares. Em 1947, se mudou para o Rio de Janeiro com a família. Gravou seu primeiro disco, "Moto Perpetuo", em 1956.

Moura ganhou o primeiro Grammy Latino para Música de Raiz com o trabalho "Pixinguinha: Paulo Moura e os Batutas", em 2000. E foi indicado novamente ao Grammy em 2008, na categoria Melhor CD Instrumental, como disco "Para cá e Pra Lá".

Seu último trabalho foi o CD AfroBossaNova, lançado em julho do ano passado. Em 2009, ele também fez shows na Tunísia e no Equador. 

(Extraído da Folha on line, Brasil)

Victor Young e suas cordas cantantes - Música para Dois

1. Her First Corsage
2. Never Come Sunday
3. Rita
4. My Time of Day
5. Enamorando
6. Bright Lights
7. I Love Your Gypsy Heart
8. Latin Nocturne
9. Take Back Your Mink
10. Lover's Lane
11. Night Song
12. Summer Clouds

Música para Dois

A envergadura e a versatilidade artísticas - para não mencionarmos a enorme popularidade - de Victor Young é comprovada pela vasta aceitação, pelo público mundial, de várias coletâneas fonográficas dedicadas ao saudoso músico e à sua obra.

Young destacou-se tanto como regente, quanto como compositor em long-plays Decca de grande procura, tais como "Night Music", "Hollywood Rhapsodies", "Gypsy Music", "Cinema Rhapsodies", "For Whom the Bell Tolls" e "Golden Earrings", além de "Victor Young's Musical Sketch Book", uma seleção de suas mais importantes composições.

Como sua música, a carreira de Victor Young foi espantosamente variegada. Nasceu ele em Chicago, no ano de 1900, herdando do pai o talento. Aos quatro anos de idade, Victor já dedilhava as cordas de um violino que lhe fora dado de presente pelo avô; aos seis já tocava melodias reconhecíveis nesse mesmo instrumento. Aos dez foi mandado para Varsóvia, a fim de morar com o avô. Foi na capital polonesa que atraiu a atenção do diretor do Conservatório Imperial, e para justificar tão lisonjeiro interesse, trabalhou com afinco. Posteriormente recebeu diploma do Conservatório e foi contemplado com um violino Guarnerius, a ele doado por um banqueiro polonês.

Após a assinatura do armistício da Primeira Guerra Mundial, Young regressou aos Estados Unidos e desposou sua namorada polonesa, na California. Começou a tornar-se conhecido em sua pátria e passado algum tempo voltou para Chicago, onde passou a reger grandes orquestras em cinemas de luxo. Por essa época já se encontrava em condições de compor e arranjar sua própria música. Interessando-se pelo movimento jazzístico daqueles dias, transformou-se num dos mais entusiasmados expoentes deste grande gênero da música americana. Galgando novos planos em sua carreira, tornou-se diretor musical para Balaban e Katz. Nessa fase do decênio 1920-1930, toda a nação cantava "Sweet Sue", de sua autoria, o que ainda faz neste ano de 1957.

Talvez seja Victor Young mais conhecido pelas muitas partituras que compôs para Hollywood. Consta ter ele contribuído com mais de duzentos números, temas e música de fundo para as películas cinematográficas. Foi, em verdade, um dos primeiros a conceber partituras para os filmes não apenas como caracterização de imagens e situações, mas ainda como pura música - música para o prazer do ouvinte de gosto musical.

Este novo disco coletivo ratifica a atração exercida pela música de Victor Young e suas muito apropriadamente intituladas "Cordas Cantantes". É uma música ao mesmo tempo alegre e nostálgica, ligeira e duradoura, em seus matizes tonais. Escolhidas com um gosto pelas delicadas variações, estas melodias, com o seu amálgama de reminiscência e fascínio, se destina a qualquer ouvinte.

(Extraído das notas originais do LP)

Paul Mauriat et Son Grand Orchestre - Volume 10

1. Je T'Aime Moi Non Plus
2. Suspicious Minds
3. Toi L'Amour Et Moi
4. Vole S'Envole
5. Midnight Cowboy
6. Alors Je Chante (Vivo Cantando)
7. Let the Sunshine in
8. Chimene
9. Dans Le Soleil Et Dans Le Vent
10. I Want to Live (Paisir D'Amour)
11. De Musique En Musique
12. Que Je T'Aime

Paul Mauriat Nº 10

Clebanoff e Sua Orquestra - Sucessos de Hoje

1. Follow the Boys
2. Our Day Will Come
3. Puff
4. The End of the World
5. Don't Set Me Free
6. Days of Wine and Roses
7. Can't Get Used to Losing You
8. All I Have to Do Is Dream
9. Pipeline
10. Sax Fifth Avenue
11. Our Winter Love
12. Love for Sale

Sucessos de Hoje

Este disco reúne os mais deliciosos e mais duradouros ingredientes que podem ser encontrados nos discos populares modernos. Unidade: a estilização eterna e rica das cordas por uma dominante organização musical - Clebanoff e Sua Orquestra.

Mesclando as influências de campos clássicos e populares, Clebanoff aplica seu próprio toque orquestral aos mais vendidos números da atualidade. O resultado é música belíssima e altamente atrativa para o ouvinte, independendo de época, lugar ou predileção. Cada música possui seu encanto inegável - aquele certo "quê" misterioso que a torna sucesso. Quanto a isso, apesar do selo inimitável de Clebanoff, os ouvintes familiarizados com as versões originais destas seleções notarão a pureza das traduções para este novo estilo pessoal. Nada foi perdido. E ao mesmo tempo, tanto foi ganho.

"Don't Set Me Free", de Ray Charles, conserva todo seu sentimento dos 'blues' - mesmo no seu invólucro de cordas grandiosas e suave percussão. Provando que seus músicos podem balançar no idioma leve do jazz, Clebanoff continua através das melhores canções da atualidade. Interpretações belíssimas de "The End of the World" - com seus arpejos chopinescos - e "Our Winter Love" demonstram a habilidade singular dessa orquestra de transformar melodias simples em memoráveis e duradouras sempre-vivas.

O sentimento gerado por esta versão orquestral de "Pipeline" surge com a excitação dos primeiros tempos do ouro negro. Antes de poder recuperar-se, se está a duas mil milhas de distância, no coração de Manhattan - com o lento, sonhador e noturno "Sax Fifth Avenue" fornecendo o transporte. Os temas cinematográficos "Follow the Boys" e "Days of Wine and Roses" soam como se houvessem sido especialmente criados para Clebanoff.

Produzido por Jack Tracy
Arranjos de Wayne Robinson - Orgão Thomas utilizado exclusivamente neste disco

(Extraído das notas originais do LP)

Frank Morris and His Dynamic Orchestra - Let's Dance

1. I Could Have Danced All Night
2. September Song
3. Mack the Knife
4. Dancing in the Dark
5. Tea for Two
6. I Can't Give You Anything But Love, Baby
7. Just One of Those Things
8. The Lady Is A Tramp
9. Three Coins in the Fountain
10. When I Fall in Love
11. Moonglow
12. Tenderly

Let's Dance

Se a vontade é dançar, é lógico que ninguém vai dançar na corda bamba, que quem dança na corda bamba é acrobata de circo ou pobreza sem remédio.

Se a vontade é dançar, não basta apenas a vontade. É preciso mais. É preciso que tenha orquestra e orquestra que saiba fazer música para dançar, como é o caso, aqui, da orquestra de FRANK MORRIS - uma das melhores, senão a melhor orquestra inventada para dançar.

Toda dinamismo rítmico, a orquestra de Frank Morris é a orquestra ideal para sua festa, para sua dança e haja, portanto, espaço, muitas moças e rapazes e, sobretudo, vontade de dançar - que Frank Morris "And His Dynamic Orchestra" se encarregam de fornecer a melhor música!

(Extraído das notas originais do LP)

The Strings of Paris - Endless Love - Conducted by Jean Paul de La Tour

1. A Man and A Woman
2. Endless Love
3. Petite Fleur
4. Begin the Beguine
5. Thought I'd Ring You
6. Torn Between Two Lovers
7. David's Song
8. Back Street
9. La Vie En Rose
10. Moonlight Serenade
11. Elle Et Lui
12. Estrellita
13. Greensleeves
14. My Funny Valentine
15. Lover
16. Emanuelle

Endless Love

The Mantovani Orchestra - Mantovani Magic

1. You Are the Sunshine of My Life
2. How Deep Is Your Love ?
3. Don't Cry for Me Argentina
4. You Light Up My Life
5. Mull of Kintyre
6. A Whiter Shade of Pale
7. Can't Smile Without You
8. Annie's Song
9. Chanson D'Amour
10. Nobody Does It Better
11. Winner Takes It All
12. Killing Me Softly with His Song
13. Greensleeves
14. A Time for Us
15. Bye Bye Love
16. You Don't Bring Me Flowers
17. The Way We Were
18. I Know I'll Never Love This Way Again
19. MacArthur Park
20. Scarborough Fair
21. I Write the Songs
22. Plaisir D'Amour
23. La Mer
24. Nights in White Satin
25. The First Time Ever I Saw Your Face
26. Long and Winding Road

Mantovani Magic

Conductor, composer, violinist, and pianist Mantovani was one of the most popular and prolific easy listening artists of all time. His trademark "cascading strings" (or "tumbling strings") effect gave him an instantly recognizable sound, and his heavy reliance on the string section in general helped map out the blueprint for much of the light orchestral music that followed in his wake. His repertoire did feature original compositions, but was built chiefly on lush adaptations of familiar melodies: TV and movie themes, show tunes, pop hits (chiefly of the MOR variety), classical material, and the like. Starting his career in the '20s, Mantovani was very much a product of the recording age: he focused almost entirely on recording, instead of live performance; he was one of the first artists to utilize the LP as a primary medium for his releases (as opposed to singles); he was one of the first popular artists to use stereo recording technology, and likely the first to sell over a million records in the stereo format. Fascinated by the studio recording process, he experimented restlessly with miking methods and other technical nuances over the course of an astoundingly large discography -- more than 50 albums from the early '50s until his death in 1980 (not counting his numerous 78 rpm records, dating back to the late '20s). Annunzio Paolo Mantovani was born November 15, 1905, in Venice, Italy. His father was an accomplished violinist who performed at the legendary Milan opera house La Scala under the direction of Arturo Toscanini. Mantovani himself began piano and music theory lessons at a young age. In 1912, the family moved to England, where Mantovani's father took over direction of the Covent Garden Orchestra. At age 14, Mantovani switched from piano to violin; although the latter became his instrument of choice, he would keep up his piano work for the sake of composing. Just two years later, he made his professional debut with a performance of Anton Bruch's "Violin Concerto No. 1." He joined a touring orchestra and quickly became a featured soloist; by age 20, he was leading the resident Hotel Metropole Orchestra, and made a few recordings with the group in 1928. He gave high-profile recitals in 1930 and 1931, performing Saint-Saëns' "Violin Concerto in B Minor" at the latter, and began to make a name for himself. Around the same time, he formed a new group, the Tipica Orchestra, and started a series of regular radio broadcasts from London's high-profile Monseigneur restaurant. Mantovani and the Tipica Orchestra made highly successful appearances all over England, and recorded for Sterno, Regal Zonophone, and Columbia from 1932-1936; two of those records, "Red Sails in the Sunset" and "Serenade to the Night," were hits in the U.S. in 1935 and 1936, respectively. Columbia changed the billing on his records to Mantovani & His Orchestra in 1937, and in 1940 he moved over to Decca. By World War II, he was one of the most popular orchestra leaders in England, and in the '40s he also branched out into theater, serving as musical director for a number of productions including several by Noel Coward. Once World War II ended, Mantovani threw his energy into recording, and gradually moved away from live performances altogether. He experimented with different styles over a series of popular 78s for Decca, and hit upon his signature sound when he connected with arranger Ronald Binge, who'd once played accordion in the Tipica Orchestra. Binge was likely the man who devised Mantovani's dramatic "cascading strings" effect, which the two first employed on the 1951 single "Charmaine," a song originally written 25 years earlier. "Charmaine" was a major hit, selling over a million copies and definitively cracking open the U.S. market for Mantovani's music. A steady stream of hit singles followed in the early '50s, including "Wyoming" (1951), "Greensleeves" (1952), the U.K. number one "Song From Moulin Rouge" (1953), "Swedish Rhapsody" (1953), "The Lonely Ballerina" (1954), "Toy Shop Ballet" (1956; it helped him win the U.K.'s Ivor Novello Award), and "Around the World" (1957). Additionally, Mantovani arranged, co-wrote, and backed David Whitfield on his U.K. chart-topper (and U.S. Top Ten) "Cara Mia" in 1954. Starting in 1953, he recorded what proved to be a deluge of LPs for Decca and its London subsidiary. The advent of rock & roll stunted his success on the singles charts, but his albums sold like hotcakes in America. From 1955 to 1972, well over 40 Mantovani albums reached the U.S. pop charts; 27 of those reached the Top 40, and 11 made the Top Ten. His biggest sellers included Christmas Carols (1953; it re-entered the charts several times), Strauss Waltzes (1953), Song Hits From Theatreland (1955), Film Encores (1957; his lone number one album), Gems Forever (1958), Mantovani Stereo Showcase (1960), Italia Mia (1961), and the smash Mantovani Plays Music From "Exodus" and Other Great Themes (1961), a number two hit that sold over a million copies and stayed on the charts for nearly a year. His version of the "Exodus" theme was just one of several successful recordings (others were by Ferrante & Teicher and jazzman Eddie Harris). As the '60s wore on, Mantovani's brand of pleasant, light orchestral music increasingly diverged from mainstream tastes in pop, and his chart placings slipped lower and lower (his last entry was 1972's Annunzio Paolo Mantovani). Still, he stayed true to his own aesthetic, only adopting those contemporary trends that he could translate on his own terms. His recording activities were curtailed after the Decca label was dissolved and absorbed into MCA in 1973, though he continued to compose for several years afterward. He passed away on March 30, 1980, in his country home in Tunbridge Wells, England. ~ Steve Huey, All Music Guide

Orquestra Românticos de Cuba - Internacionais

1. I Will Wait for You
2. Canção para um Homem no Espaço
3. Zingara
4. My Way of Life
5. Canção dos Vagabundos
6. The Music Played
7. Tomorrows Love
8. Love Is Blue
9. The World We Knew
10. A Whiter Shade of Pale
11. This Guy's in Love with You
12. The Look of Love

Internacionais

Bert Kaempfert and His Orchestra - Hold Me

1. Hold Me
2. It's the Talk of the Town
3. So What's New?
4. Somebody Loves You
5. Sermonette
6. Rose Room
7. Hold Back the Dawn
8. Love for Love
9. Lady
10. Take Seven
11. Marjoram
12. Pussy Footin'

Hold Me

When this album was released in 1967, Bert Kaempfert was already well down the road leading to success. As bandleader-arranger-composer, he had firmly established himself world wide. For example, on the margin of one of his own scores, composer Henry Mancini left the instruction, "With Bert Kaempfert's drum brush", and Nelson Riddle wasn't above demanding the "Big Kaempfert Sound" from his own musicians, when he felt it necessary. This year saw Frank Sinatra climbing the American charts with the new Kaempfert's composition, "The World We Knew (Over and Over)", and Al Martino found himself shareing the top spots on hit lists across the world with his own, and Kaempfert's instrumental version of "Spanish Eyes" ("Moon Over Naples"). And here were also three Kaempfert LPs to be found, "The World We Knew", "Bert Kaempfert - Greatest Hits" and "Hold Me".

"Hold Me", a production that proves the many faceted expertise of Bert Kaempfert. Everybody who adores Bert Kaempfert's typically swinging and sometimes humorous style of interpretation will be more than satisfied with "Marjoram", "Pussy Footin'" and "So What's New". At the time, all these numbers were warm favourites on the US radio.

"Hold Back the Dawn", a very melodic composition from Bert Kaempfert was especially loved, particularly the vocal versions from Baby Washington, and Gloria Lynne. With "Lady", Jack Jones stole the charts and later many stars were to include this number in their own repertoires.

The best dance numbers are, "Love for Love", "It's the Talk of the Town" and "Rose Room", unlike the masterful, "Take Seven", composed in 7/4 time; even the musicians had to be careful not to fall out of step during this recording. As always, well loved standards are given fresh life without loosing their authenticity.

In this year the European and American public were able to experience the, until now, 'Invisible Mr. Hitmaker' on television:

August 1967, saw the launching of German colour television, during the 25th annual Broadcasting Exhibition in Berlin. Amongst the crowd of international stars was Bert Kaempfert and his Orchestra. The Gala-Show took place within the framework of a Eurovision broadcast.

During previous years Bert Kaempfert and his Orchestra had received many invitations to appear in front of the American public. Unfortunately this was never possible, due to the fact that the work permits, necessary for foreigners, were, to all intents and purposes, practically impossible to attain. In addition, the unions demanded that for every foreign musician who appeared, an American one had to be compensated. These conditions combined to make it financially impossible for any promoter to consider organizing a concert tour for the numerically imposing Bert Kaempfert and his Orchestra.

Despite this, it proved possible in the end, to engage Bert Kaempfert and his Orchestra for an appearance on the Jackie Gleason Show, the then most popular show in the US. The show was scheduled once a week, during peak viewing time and was broadcast from 'coast to coast'. Bert Kaempfert took only four of his own musicians along with him, drummer Rolf Ahrens, his bass guitarist Ladi Geissler, bass player Karl-Heinz (Kuddel) Greve, and solo trumpeter Manfred Moch. The rest of the team were substituted by the excellent Jackie Gleason-Big Band, as well as a strings section and a choir. Given Bert Kaempfert's ability and talent for writing arrangements, the rehearsal time of only one day was more than enough to allow this improvised ensemble to present the American public the typical Kaempfert sound with two medleys of his most successful hits.

Bert Kaempfert ist the only German composer and bandleader of entertainment music that has achieved not only notable, but really huge success. Right up until today his music enjoys worldwide respect and continues giving pleasure to many across the world.

(from original LP liner notes translated by Ewen Campbell)

Nice and Easy on vacation!

Prezados visitantes

A partir de hoje estaremos de férias durante os próximos vinte dias. Quaisquer esclarecimentos com relação às postagens publicadas, por favor, deixem seus comentários no "Formulário Pro" ou enviem um e-mail para bthoven@bol.com.br.

Retornaremos em breve com mais novidades no mundo fantástico da "easy listening music". Até lá!

The Max Hedrom Team

Jimmy Hamilton - As Time Goes By

1. Stranger on the Shore
2. Misty
3. Shadow of Your Smile
4. As Time Goes By
5. Departing Lovers
6. Don't Get Around Much Anymore
7. Warm Valley
8. 'C' Jam Blues
9. Happy Go Lucky Local
10. Satin Doll

As Time Goes By

Musicians:

Jimmy Hamilton - alto saxophone, clarinet, saxophone

Gary Mayone - piano

Joe Straws - bass

Delroy Thomas - drums

Recorded in St. Croix, Virgin Islands, September 24, 1985

 Jimmy Hamilton (1917 - 1994)

A longtime member of the Duke Ellington Orchestra, Jimmy Hamilton's cool vibrato-less tone and advanced style (which was ultimately influenced by bop) initially bothered some listeners more accustomed to Barney Bigard's warmer New Orleans sound, but Hamilton eventually won them over with his brilliant playing. As opposed to how he sounded on clarinet, Hamilton's occasional tenor playing was gutsy and emotional. Prior to joining Ellington, he had worked with Lucky Millinder, Jimmy Mundy, and most noticeably Teddy Wilson's sextet (1940-1942) and Eddie Heywood; Hamilton also recorded with Billie Holiday. He was with Ellington for 25 years (1943-1968), and was well-featured on clarinet on "Air Conditioned Jungle," "Ad Lib on Nippon," and a countless number of other pieces. After leaving Ellington, Hamilton moved to the Virgin Islands, where he taught music in public schools. He did return to the U.S. to play with Clarinet Summit in 1981 and 1985, and gigged a bit in New York during 1989-1990, but was otherwise little heard from in his later years. Jimmy Hamilton only had a few opportunities to record as a leader, mostly dates for Urania (1954), Everest (1960), Swingville (two in 1961), and a 1985 set for Who's Who. ~ Scott Yanow, All Music Guide

Nat King Cole - The Very Best of Nat King Cole - Volume 5

1. Acércate Más
2. Solamente Una Vez
3. Perfidia
4. Adelita
5. Te Quiero, Dijiste
6. Tres Palabras
7. Ansiedad
8. Nadie Me Ama
9. Noche de Ronda
10. Capullito de Aleli
11. Ay Cosita Linda
12. El Bodeguero
13. Aquellos Ojos Verdes
14. Vaya Con Dios

The Very Best 5

Nat King Cole - The Very Best of Nat King Cole - Volume 4

1. When I Fall in Love
2. Answer Me, My Love
3. Fly Me to the Moon
4. Non Dimenticar (Don't Forget)
5. Autumn Leaves
6. Quizas, Quizas, Quizas
7. Tenderly
8. The Sand and the Sea
9. The Christmas Song
10. Love Is the Thing
11. Darling, Je Vous Aime Beaucoup
12. Dear Lonely Hearts
13. That Sunday, That Summer
14. L-O-V-E

The Very Best 4

Nat King Cole - The Very Best of Nat King Cole - Volume 3

1. On the Street Where You Live
2. The Party's Over
3. Fascination
4. People
5. September Song
6. Love Is A Many-Splendored Thing
7. Love Letters
8. Stella by Starlight
9. Arrivederci Roma
10. When You're Smiling
11. Around the World
12. St. Louis Blues
13. Just One of Those Things
14. The Memphis Blues

The Very Best 3

Nat King Cole - The Very Best of Nat King Cole - Volume 2

1. Stardust
2. The Very Thought of You
3. These Foolish Things (Remind Me of You)
4. Ain't Misbehavin'
5. Love Is Here to Stay
6. Red Sails in the Sunset
7. You Stepped Out of A Dream
8. Once in A While
9. When Your Lover Has Gone
10. Let's Fall in Love
11. (I Love You) for Sentimental Reasons
12. Smoke Gets in Your Eyes
13. What Is This Thing Called Love?
14. Where or When

The Very Best 2

Nat King Cole - The Very Best of Nat King Cole - Volume 1

1. Mona Lisa
2. Unforgettable
3. Too Young
4. Nature Boy
5. Somewhere Along the Way
6. Smile
7. A Blossom Fell
8. Can't I?
9. Pretend
10. Ramblin' Rose
11. Walkin' My Baby Back Home
12. Send for Me
13. (Get Your Kicks on) Route 66
14. Ballerina

The Very Best 1

Infelizmente, devido às pretensões legais da famigerada DMCA, fomos impedidos de divulgar os textos referentes à biografia do nosso inigualável Nat King Cole. Pedimos desculpas aos nossos visitantes por esse fato constrangedor e, ao mesmo tempo infeliz, uma vez que nos sentimos impotentes frente a essa investida contraproducente em termos culturais e informativos. Porém, como sendo obedientes com relação às normas dos usuários do Blogger, colocamo-nos à disposição para quaisquer esclarecimentos, sendo eles legalmente justificáveis ou meramente absurdos. Entendemos que a informação é universal, pertence a todos, independente de fatores coercitivos. Até mesmo uma suposta informação que nos obrigue a não divulgá-la.

The Max Hedrom Team

Frank Chacksfield and His Orchestra - Chacksfield Plays Bacharach

1. Raindrops Keep Fallin' on My Head
2. Alfie
3. I'll Never Fall in Love Again
4. This Guy's in Love with You
5. Paper Maché
6. Trains and Boats and Planes
7. (They Long to Be) Close to You
8. You'll Never Get to Heaven
9. The Look of Love
10. To Wait for Love
11. The Green Grass Starts to Grow
12. Wives and Lovers

Plays Bacharach

Burt Bacharach - Hit Makers! - Burt Bacharach Plays His Hits

1. Walk on By
2. And So Goodbye My Love
3. Saturday Sunshine
4. Sail on Silv'ry Moon
5. Don't Make Me Over
6. Don't Go Breaking My Heart
7. Blue on Blue
8. The Last One to Be Loved
9. (There's) Always Something There to Remind Me
10. 24 Hours from Tulsa
11. Trains and Boats and Planes
12. Wives and Lovers
13. A House Is Not A Home
14. Anyone Who Had A Heart
15. My Little Red Book
16. What's New Pussycat?

Hit Makers!

Burt Bacharach, one of the top hit-makers in the music business today, is an advocate of team effort. He belongs to that rare group of creative people who plays down the "I" and "Me" when discussion his song achievements and, instead, builds up the "We" and "Us".

This is all in preface to the way Burt feels about his long-time collaborator, lyricist Hal David. From the long list of hits produced by the Bacharach-David team, it has become quite obvious that rarely have two song-makers been so well attuned.

A hit song of any stature has always depended on the proper blending of music and lyric and that is why Burt feels so strongly about Hal's lyrics. "We have worked out a collaborative pattern in which the words and music are virtually inseparable", says Burt, "and that's why I utilize choruses with lyric interjections so that the words can be given an extensive display".

In addition to his teaming with David, Bacharach feels that an important reason he's had more hits in the past three years than even before is that he doesn't leave the song afer it has been put down on the lead sheet. He writes the arrangements, rehearses the artists and takes greater care of the way the material is handled when it's ready to be recorded.

Bacharach has been able to do all this because of the varied influences that have helped shape his musically. He studied serious music with such illustrious names as Darius Milhaud and Henry Cowell, and he got his first taste of the pop music world as piano accompanist for Vic Damone, The Ames Brothers, Steve Lawrence and Georgia Gibbs, amoung others. Also, on and off for the past six years, he has been conductor and accompanist for Marlene Dietrich's engagements around the world.

It's a background that has made Bacharach the fine musician-composer he is today, but he's still the first to admit that it's his collaboration with Hal David that has put their songs in the front rank


(from the original liner notes)

With a hit-single track record spanning four decades, Burt Bacharach became one of the most important composers of popular music in the 20th century, almost equal to such classic tunesmiths as George Gershwin or Irving Berlin. His sophisticated yet breezy productions borrowed from cool jazz, soul, Brazilian bossa nova, and traditional pop to virtually define and undoubtedly transcend the staid forms of Brill Building adult pop during the 1960s.

Born May 12, 1928, in Kansas City, he studied cello, drums, and piano as a child, and was later transplanted to New York City by his father, a syndicated columnist. The time spent in New York gave him a chance to sneak into clubs to watch his bebop heroes Dizzy Gillespie and Charlie Parker; he also played in several jazz bands during the 1940s. Bacharach studied music theory and composition at the Mannes School in New York, at Berkshire Music Center, at the New School for Social Research (with Darius Milhaud), at Montreal's McGill University, and at the Music Academy of the West in Santa Barbara, CA. A period in the Army interrupted his concentration of music study, but even while serving in Germany, Bacharach arranged and played piano for a dance band. He also played in nightclubs and backed Steve Lawrence, the Ames Brothers, and Paula Stewart. Bacharach was discharged in 1952, and he married Stewart on December 22nd of the following year.

On returning to the U.S., he began writing songs for Lawrence, Patti Page, the Ames Brothers, and others, but his first hit came from Marty Robbins in late 1957 when Robbins took "The Story of My Life" to the American Top 20 and the number one spot in England. The single was also notable for its co-composer, Hal David, who became Bacharach's songwriting partner and collaborated on most of his big hits. The Bacharach/David team followed up in January 1958 with Perry Como's "Magic Moments," another U.K. chart-topper and a Top Five entry in America. Bacharach's marriage dissolved in 1958, and he left for Europe to tour with Marlene Dietrich. He returned in 1961, and wrote several songs for the Drifters with Bob Hilliard (including "Mexican Divorce" and "Please Stay") before reuniting with Hal David. At an arranging session, he found the singer who became the ultimate vehicle for his songs: Dionne Warwick who was working as a member of the Drifters' backup vocal group, the Gospelaires.

By late 1962, Bacharach and David began focusing most of their composing energy on Warwick, who was the recipient of 15 Top 40 singles from 1962 to 1968 (including the Top Tens "Anyone Who Had a Heart," "Walk on By," "Message to Michael," "I Say a Little Prayer," "Valley of the Dolls," and "Do You Know the Way to San Jose?"). The duo also remained dominant in England, where Frankie Vaughan, Cilla Black, Sandie Shaw, the Walker Brothers, and Herb Alpert all hit number one with Bacharach/David compositions. As if their schedule wasn't busy enough throughout the '60s, the songwriters contributed film scores for What's New Pussycat?, Alfie, and Casino Royale. The film featuring their most celebrated score, Butch Cassidy and the Sundance Kid (1969), won Oscars for Best Original Score and Best Theme Song for "Raindrops Keep Fallin' on My Head" (plus two non-musical Academy Awards). Bacharach and David began working on the musical Promises, Promises in the late '60s; it won a Tony and a Grammy Award (for cast album) during a popular three-year Broadway run. Bacharach hit the charts himself in 1969, with the show's "I'll Never Fall in Love Again" reaching the Top 100. Surprisingly, this was not his only foray into recording; Bacharach had reached number four in the U.K. charts in May 1965 with "Trains and Boats and Planes," and he released several popular solo albums during the late '60s.

The beginning of the '70s looked bright for Burt Bacharach, as the Carpenters took "(They Long to Be) Close to You" to number one in the U.S. in July 1970. The forecast was premature, though, as three of his closest partners -- Hal David, Dionne Warwick, and his second wife Angie Dickinson -- left him. He gathered several accolades for an eponymous 1971 album featuring renditions of his previous hit compositions, but later albums were disappointing and Bacharach's next hit was over a decade in coming. Finally in 1981, he collaborated with Christopher Cross, Carole Bayer Sager, and Peter Allen on the Oscar-winning "Arthur's Theme." Bacharach married Bayer Sager just one year later, and together they wrote Roberta Flack's Top 20 hit "Making Love," as well as "Heartlight" which Neil Diamond took to number five.

Once Bacharach resumed composing he began to hit, and 1986 was one of his finest years, with two American number ones: "That's What Friends Are For" (by an all-star group including Warwick, Elton John, Gladys Knight, and Stevie Wonder) and a duet by Patti LaBelle and Michael McDonald titled "On My Own." He divorced Sager in 1991, but worked with Dionne Warwick again two years later on "Sunny Weather Love," from her Friends Can Be Lovers album. Also in 1993, Bacharach contributed songs to James Ingram, Earth, Wind & Fire, and Tevin Campbell. Around the same time, many alternative bands began name-checking the hitmaker as an influence, and Oasis frontman Noel Gallagher joined him on the stage of the Royal Albert Hall as well as including a picture of him on the cover of Oasis' Definitely Maybe. BBC-TV focused on Bacharach in a January 1996 documentary, and a three-disc retrospective of his compositions was released by Rhino in 1998. That same year he collaborated with Elvis Costello on the acclaimed Painted From Memory, and was celebrated at an all-star concert at Radio City Music Hall which later formed the basis for the LP One Amazing Night. The 2005 album At This Time found Bacharach writing lyrics for the first time. Tonio K helped with the lyrics, Elvis Costello, Dr. Dre, Chris Botti, and Rufus Wainwright also contributed to the album. ~ John Bush, All Music Guide

Frank Chacksfield - Presenting Frank Chacksfield and His Orchestra

1. Theme from Film "Limelight"
2. "Limelight" Incidental Music
3. A Girl Called Linda
4. Golden Violins
5. High Feather
6. Glorious
7. Ebb Tide
8. Waltzing Bugle Boy
9. Golden Tango
10. Song of Canterbury
11. Dancing Princess
12. The Pied Piper

Presenting Frank