Oscar Peterson & Nelson Riddle

1. My Foolish Heart
2. 'Round Midnight
3. Someday My Prince Will Come
4. Come Sunday
5. Nightingale
6. My Ship
7. A Sleepin' Bee
8. Portrait of Jenny
9. Goodbye
10. Con Alma
11. Maidens of Cadiz
12. My Heart Stood Still
13. Woody 'N You

Oscar & Nelson

The Nelson Riddle Orchestra was always great enough to play music for film and television soundtracks, and accompany the greatest of stars, including Louis Jordan, Frank Sinatra, Ella Fitzgerald, Peggy Lee, and Antonio Carlos Jobim, among many others. For the band to back up the 1963 version of the Oscar Peterson trio with bassist Ray Brown and drummer Ed Thigpen might have created some tension, with Peterson always wanting to cut loose and go over the top as opposed to the silky smooth sound Riddle favored. Fortunately, Peterson strikes a balance between playing it cool and lettin' 'er rip on this collection of standards with the dinner hour in mind. Though not exclusively subtle and romantic, Riddle and Peterson strike a golden bipartisan compromise in rendering these well-known American popular songs into quietly burning embers of pure delight. It's a predictable mix, but so warm and heartfelt that one has to commend the participants for allowing each other their own personal ideas without selling out. Riddle's contribution was to form a unique group, unfortunately all unattributed, of ten cellos (no violins or violas), five horns, three flutes, a harp, and a percussion section. No one section dominates, which is the beauty of the famed arranger/composer/bandleader's concept. Summarily, Peterson chooses to not clash with the instruments as he trades phrases while generally not playing along with them. This non-interruptive dialogue makes for communication that creates the best chemistry from a dynamic standpoint. In the case of "Come Sunday," Riddle's unadulterated chart of Duke Ellington's immortal composition finds Peterson in perfect sway, while separate and equal bluesy proportions of Count Basie-like melody earmark the easy swinging "Judy." There's more Basie included in the concise, three-minute "Someday My Prince Will Come" with good new lines from Peterson, while a great rendition of "A Sleeping Bee" recalls the Frank Foster years with Basie with lots of counterpoint as the cello tentet adds considerable depth to the proceedings. A pastoral mood hovers over "My Foolish Heart" with the your turn-my turn piano-orchestra's respectful trading of melody in full regalia, while the flute section takes the serene beauty image further during the Peterson-Gene Lees composition "Nightingale" and the always lovely "Portrait of Jenny." The version of "'Round Midnight" is an example of Peterson going off a bit on the arpeggiated side amongst a fairly stock horn chart, but utterly lovely, and not too creamy. Again -- this is not a soft and fuzzy overstrung effort dominated by cheese or cotton candy, but instead a quietly strong, rich, fully evocative set of great tracks that emphasize the undercurrent rather than the overflow of emotions. It is unusual in a starkly emotional sense of being, but the way all projects of this size and nature should be approached -- with taste, class, and a healthy portion of restraint.

(By Michael G. Nastos from allmusic.com) 

Orchester Jacques Romero - Melodien zum Träumen

1. Moonlight Serenade
2. Hörst du die Melodie
3. Komm mit mir ins Land der Träume
4. Maria
5. True Love (Deine Liebe)
6. Don't Cry for Me Argentina
7. Je T'aime
8. Die Hirtin
9. Lebe wohl und Good-bye
10. Ti Amo
11. Kleine Insel
12. Im Blauen Tal

Melodien zum Träumen

Oliver Nelson - Jazz Masters

1. Hoe Down
2. St. Louis Blues
3. Patterns for Orchestra
4. I Remember Bird
5. A Typical Day in New York
6. Penthouse Dawn
7. One for Duke
8. Complex City
9. You Love But Once
10. Full Nelson
11. Ricardo's Dilemma
12. Paris Blues
13. The Sidewalks of New York
14. Ballad for Benny
15. Greensleeves
16. Miss Fine

Jazz Masters

Chico O'Farrill Jazz Band - Tenderly

1. Almendra
2. Chico's Cha Cha Cha
3. Tenderly
4. Malagueña
5. Rock and Roll Cha
6. El Jamaiquino
7. La Bella Cubana
8. Madrid
9. El Manisero
10. Me Lo Dijo Adela
11. Bahia
12. El Choclo
13. Perfidia
14. El Bodeguero

Tenderly

Chico O'Farrill was right in the thick of the Afro-Cuban and Latin waves that hit jazz in the late '40s and '50s. His sophisticated writing for Latin big bands of the early '50s was often bold, brassy, and tense, yet he could also achieve a delicate, almost classical ambience in such pieces as "Angels' Flight" and work capably in larger forms (the groundbreaking "Afro-Cuban Jazz Suites").  

O'Farrill took up the trumpet while in military school in Georgia, returning to Cuba as a full-fledged jazz fan after hearing the top American big bands. He studied composition in his native Havana and led his own band there before moving to New York City in 1948, where he soon made a name for himself writing music for Benny Goodman ("Undercurrent Blues"), Stan Kenton ("Cuban Episode"), and Machito ("Afro-Cuban Jazz Suite"). From 1950 to 1954, O'Farrill made six fiery 10" albums of Latin and American big band jazz for Clef and Norgran, all of which have been reissued on a Verve two-CD set, Cuban Blues. He also appeared with his own band at Birdland and toured the U.S. Toward the end of the decade, he moved to Mexico City, returning to New York in 1965 to work as arranger and music director of the TV series Festival of the Lively Arts and to write arrangements for Count Basie. O'Farrill also put his classical training to use by writing pieces for symphony orchestra such as "Three Cuban Dances" and "Symphony No. 1." Though he continued to write pieces for Machito, Kenton, Gato Barbieri, and Dizzy Gillespie into the '70s, there were no recording sessions under O'Farrill's name from 1966 until 1995, when he came roaring back on the scene, his imagination and vigor miraculously intact, with the outstanding Pure Emotion CD (Milestone). He recorded two more strong albums for Milestone, the last being Carambola, released in October 2000. Eight months later, on June 27, 2001, Arturo "Chico" O'Farrill died while hospitalized in New York. 

(By Richard S. Ginell from allmusic.com)

Stan Kenton - Sophisticated Approach

1. But Beautiful
2. Darn That Dream
3. It Might as Well Be Spring
4. Moonlight Becomes You
5. How Do I Look in Blue
6. You Stepped out of a Dream
7. How Long Has This Been Going on
8. Memories of a Lady
9. Time After Time
10. Easy to Love
11. My One and Only Love
12. Like Someone in Love

Sophisticated Approach

Stan Kenton - The Romantic Approach

1. When Your Lover Has Gone
2. All the Things You Are
3. I'm Glad There Is You
4. Say It Isn't So
5. Imagination
6. Sweet and Lovely
7. Fools Rush in
8. You're Mine, You
9. Once in a While
10. Moonlight in Vermont
11. I Understand
12. Oh, You Crazy Moon

The Romantic Approach

Love Is Blue - Great Songs of the '60s - Various Artists

1. Love Is Blue - Johnny Gibbs
2. Somebody to Love - Les Reed
3. Cast Your Fate to the Wind - Pete King
4. Eleanor Rigby - Perry Botkin Jr.
5. Waterloo Sunset - Norman Percival
6. Classical Gas - Johnny Harris
7. There's a Kind of Hush - Perry Botkin Jr.
8. Groovin' - Hank Levine and the New Classic Singers
9. Land of a 1000 Dances - Norman Percival
10. Mr. Tambourine Man - Johnny Harris
11. To Sir with Love - Norman Percival
12. For What It's Worth - Perry Botkin Jr.
13. Don't Sleep in the Subway - Norman Percival
14. Ode to Billy Joe - Perry Botkin Jr.
15. Cherry, Cherry - Billy May
16. Feelin' Groovy - Hank Levine and the New Classic Singers
17. Call Me - Norman Percival
18. Wonderful World - Perry Botkin Jr.

Love Is Blue

Herb Alpert & The Tijuana Brass - A Taste of Honey (1967)

Bobby Hackett - Rendezvous - Orchestra arranged and conducted by Glenn Osser

1. You Are Too Beautiful
2. Thank You for a Lovely Evening
3. Autumn Nocturne
4. Cocktails for Two
5. When I'm with You
6. We Kiss in a Shadow
7. Two Cigarettes in the Dark
8. The Very Thought of You
9. The Way You Look Tonight
10. Moonlight Becomes You
11. Love Me
12. One Kiss

Rendezvous

Les & Larry Elgart and Their Orchestra - Girl Watchers - Featuring Music to Watch Girls By

1. Music to Watch Girls By
2. Shine on Harvest Moon
3. That's Life
4. The Spy with a Cold Nose
5. Night Walk
6. Out of Nowhere
7. Girl Watchers
8. Look for the Silver Lining
9. Girl Talk
10. Miss You
11. Let a Smile Be Your Umbrella

Girl Watchers

Lenny Dee - Relaxin'

1. Cabaret
2. Yellow Days
3. Dreamsville
4. Dancing in the Streets
5. Goin' out of My Head
6. Exodus
7. There's a Kind of Hush
8. Alfie
9. Watch What Happens
10. Sunrise, Sunset
11. Relaxin'

Relaxin'

Bert Kaempfert - The Polydor Singles Collection 1958 / 1972 - Disc 2

1. Danke Schön (1963)
2. The Bass Walks (1963)
3. Blue Midnight (1964)
4. L.O.V.E. (1964)
5. Red Roses for A Blue Lady (1964)
6. Lonely Nightingale (1964)
7. Three O'Clock in the Morning (1964)
8. Nothing's New (1964)
9. Moon Over Naples ( Spanish Eyes ) (1965)
10. The Moon Is Making Eyes (1965)
11. Bye Bye Blues (1965)
12. Remember When (1965)
13. Strangers in the Night (1966)
14. But Not Today (1966)
15. So What's New (1966)
16. Hold Back the Dawn (1966)
17. Hold Me (1967)
18. Pussy Footin' (1967)
19. Night Dreams (1967)
20. Talk (1967)
21. Caravan (1968)
22. Melina (1968)
23. ( You Are ) My Way of Life (1968)
24. Malaysian Melody (1968)
25. Sweet Caroline (1969)
26. One Lonely Night (1969)
27. Only A Fool ( Would Loose You ) (1972)
28. Lonely Is the Name (1972)

Polydor Singles 2

Bert Kaempfert - The Polydor Singles Collection - 1958 / 1972 - Disc 1

1. April in Portugal (1958)
2. Petticoats of Portugal (1958)
3. Till (1958)
4. Wenn du nicht bei mir bist ( You Don't Know Me ) (1958)
5. Mitternachts-Blues ( Midnight Blues ) (1958)
6. Ducky (1958)
7. Patricia (1958)
8. Catalania (1958)
9. Explorer ( Louisa ) (1959)
10. Cerveza (1959)
11. Cha! Bull! (1959)
12. Gipsy's Cha Cha (1959)
13. Shepherd's Cha Cha (1959)
14. Wunderland bei Nacht (Wonderland by Night) (1959)
15. Dreaming the Blues (1959)
16. Morgen ( One More Sunrise ) (1959)
17. Nur du, du, du allein (1959)
18. Schlaf, Kindchen, schlaf (1960)
19. Hänschen Klein (1960)
20. Muss i Denn (1960)
21. Ich hab' mein Herz in Heidelberg verloren (1960)
22. Midsummernight in Gotland (1961)
23. Holiday in Scotland (1961)
24. Afrikaan Beat (1962)
25. Echo in the Night (1962)
26. Cinderella after Midnight (1962)
27. Golden Wings in the Sun (1962)
28. Neunzig Minuten nach Mitternacht (1962)
29. Mexican Road (1962)

Singles Collection 1

Luiz Bonfa - The Brazilian Scene

1. Avocado
2. Moonlight in Rio
3. Malaguena Salerosa
4. Zomba
5. Yesterday
6. That Old Black Magic
7. I Can't Give You Anything But Love, Baby
8. Embolada
9. Bye Bye Blues
10. Her Face
11. Sambalero
12. Dream Girl

The Brazilian Scene

There is something truly majestic in the guitar playing and composing of Luiz Bonfá. From solo dates such as 1959's Solo in Rio (issued stateside by Smithsonian Folkways) to his 1972 masterpiece, Introspection, his sound is as telltale as the two other Brazilian guitar greats, Baden Powell and Djalma de Andrade (aka Bola Sete). Bonfá's elegance in style is what sets him apart from even these great masters. There is something utterly unhurried and gentle about his manner of playing, even during its most intense moments or in the most decorative settings (there were a lot of those during the bossa craze). The Brazilian Scene, released in 1965 on the Philips imprint, sits right on the knife edge between something as wonderfully organic as his solo recordings and the more stylized Anglo projects that were flooding the bins at the time. This date was produced by Hal Mooney, who also served as co-arranger along with Bonfá. The Brazilian Scene set features 12 tunes, seven of which are Bonfá originals, and one an arrangement of a traditional song ("Malaguena Salerosa"). The rest are pop standards and some that would be (the Beatles' "Yesterday"). The studio group includes Bonfá's New York studio band, featuring the great drummer Hélcio Milito, bassist Donald Payne, and flutist Jerome Richardson, with strings and a chamber orchestra that were dubbed in later. Bonfá's group was recorded absolutely live from the floor; his guitar playing, full of gorgeous dual pizzicatos, popping bass notes, and extended chord voicings, was captured as it is with no overdubs. This may not seem unusual until you hear it. More often than not it does feel as if a minimum of two guitarists are playing -- check the fluid, kinetic dual pizzicatos and single notes in the traditional tune, where his bass notes ground a flitting attack of two- and then one-string leads amid his basslines, which also feel twinned. Other standouts include the dark edges of "Zomba," with its foreboding horns and dramatic strings. Bonfá moves through them with his minor-key melody playing out in old Brazilian folk dance style, where chords are folded amid twinned lead lines and a hypnotic bassline -- accented on the codas by Milito. It does have the feeling of gentle exotica because of the orchestrations, but Bonfá's playing removes the flowery edges in the tune. Of the pop standards, his reading of "That Old Black Magic" transforms the tune into a top-flight samba, with ticking triple-time percussion by Milito. The band performs this one without accompaniment from the orchestra, and it is among the set's highlights. As far as mid-'60s bossa goes, this one falls to the Yankee side of that a bit, but this is no easy listening date, either. This is colorful and polished Brazilian jazz performed by a crack group with tasteful -- if sometimes overly busy -- arrangements.

(By Thom Jurek from allmusic.com) 

Although overshadowed by the towering figure of Antonio Carlos Jobim and to a lesser extent by João Gilberto, Luiz Bonfá was right there at the birth of bossa nova as well. In fact, at least two of his songs, the haunting "Manha de Carnaval" and equally evocative "Samba de Orpheus" swept the world at least three years before Jobim's songs began to make a global impact, paving the way for the first Brazilian wave. In addition, Bonfá cultivated a delicate, precise classical guitar style, though more attuned to the traditional samba rhythm than the Gilberto/Jobim bossa nova lilt. Born near the bay of Guanabara in Rio -- his father was an Italian immigrant -- Bonfá took up the guitar at eleven and studied classical guitar with the Uruguayan master Isaias Savio. He began to work Rio's clubs as a singer with the Quitandinha Serenaders, and by 1946, he was appearing on Brazil's Radio Nacional. By 1957, Bonfa was beginning to split his time between New York City and Rio, touring the U.S. with singer Mary Martin, as well as writing and recording Brazilian film scores. The turning point in his career came in 1959 when film director Marcel Camus asked Bonfá to contribute some songs to his film version of the play Orfeo do Carnaval (to be renamed Black Orpheus on the screen). The director originally rejected "Manha de Carnaval" as the film's main theme, but after coming up with what he felt was an inferior second effort, Bonfá fought for his first tune and got his way, and "Manha de Carnaval" became a global pop/jazz/folk standard. In the late '50s and '60s, Bonfá began recording several albums for the American market on EMI Odeon (Capitol), Dot, Atlantic, Cook, Philips, Epic, and Verve, and he and his songs appeared prominently on the Jazz Samba Encore album with Jobim and Stan Getz. His songwriting skills were in demand in the most unpredictable places; for example, he wrote the schmaltzy "Almost in Love" for Elvis Presley (included in the forgettable 1968 film Live a Little, Love a Little). Bonfá's profile in America virtually disappeared after the '60s, although he continued to tour and write, eventually cutting over 50 albums. But he resurfaced in U.S. CD shops after a 15-year gap in 1989 with Non-Stop to Brazil for Chesky, followed by the ravishing The Bonfá Magic in 1991 (released domestically on Milestone) and 1993's Moods on GSP. Also, the original soundtrack for Black Orpheus is available on a Verve CD, a firsthand snapshot of Bonfá and Jobim lighting the fuse for the world-wide Brazilian music explosion. On January 12, 2001, Luiz Bonfá died of cancer in Rio de Janeiro.

(By Richard S. Ginell from allmusic.com)  

Leroy Anderson - La Musique de l'Air

1. Belle of The Ball
2. Bugler's Holiday
3. Promenade
4. The Bluebells of Scotland
5. The Typewriter
6. The Syncopated Clock
7. The Waltzing Cat
8. The Penny-Whistle Song
9. Clarinet Candy
10. Forgotten Dreams
11. Song of the Bells
12. The Irish Washerwoman

La Musique de l'Air

Sherrie Maricle & The DIVA Jazz Orchestra - What the World Needs Now

Sherrie Maricle & The DIVA Jazz Orchestra in concert at Tannery Pond Community Center, featuring Nadje Noordhuis on trumpet and Janelle Reichman on tenor saxophone. Arrangement by Ellen Rowe.

Beautiful Melodies - Disc 2 - Various Artists

1. I Won't Last A Day without You - Richard Clayderman
2. Greatest Love of All - Fantasy Strings
3. Spanish Eyes - James Last
4. Sweet Caroline - Chet Atkins
5. My Funny Valentine - Bobby Hackett
6. Chim Chim Cheree - Fantastic Strings
7. Baubles, Bangles and Beads - George Shearing
8. Mr. Lucky - Claudio Casanova
9. Memory - Bonfiglio
10. It Might as Well Be Spring - Skitch Henderson
11. Alfie - John Fox
12. Shadow Waltz - Hugo Winterhalter
13. Chariots of Fire - Vangelis
14. I Just Called to Say I Love You - Francisco Garcia
15. Eleanor Rigby - Sandra Fann
16. Solitaire - Norrie Paramor
17. Careless Whisper - Roger Williams
18. On My Own - Fairfield Strings
19. With You I'm Born Again - Romantic Strings
20. Without You - Mantovani
21. Touch Me in The Morning - Johnny Pearson
22. Cry Me A River - Franck Pourcel
23. El Porompompero - Waldo de Los Rios

Beautiful Melodies 2

Joe Pass - Summertime (1992)

Andy Williams & Bing Crosby - In A Little Spanish Town (1966)

Armando Trovajoli - Softly

1. Just One of Those Things
2. Lullaby in Rhythm
3. The Nearness of You
4. With A Little Bit of Luck
5. A Foggy Night
6. Bernie's Tune
7. Love Me or Leave Me
8. Sometimes A Heart Goes Astray
9. Whispering
10. I Can't Believe that You're in Love with Me

Softly

Personnel:
Armando Trovajoli (piano);
Gino Marinacci (flute);
Enzo Grillini (guitar);
Berto Pisano (bass);
Sergio Conti (drums);
Franco Chiari (vibes)

Armando Trovajoli (2 September 1917 - 28 February 2013), who has died aged 95, was a prolific composer for Italian films and stage musicals. He worked with many of Italy's leading directors, including Mario Monicelli, Dino Risi, Ettore Scola and Vittorio De Sica, for whom he composed music for La Ciociara (Two Women, 1960) and Matrimonio all'Italiana (Marriage Italian Style, 1964), both of which starred Sophia Loren, who became a friend. When Loren was going to Hollywood for the first time in the mid-1950s, Trovajoli composed and recorded with his orchestra a song in Neapolitan for her, Che M'è 'Mparato a Fà (What Did You Teach Me to Do?), which did much to launch her in the US.

Trovajoli was born into an upper-middle-class family in Rome. He learned to play the violin as a boy and, in the 1930s, studied piano at the Santa Cecilia conservatory. By 1939 he was playing with a leading jazz band. After the second world war, when Italians were finally able to listen to the latest American music, Trovajoli played with an Italian orchestra at a jazz festival at the Salle Pleyel in Paris, where Miles Davis and Charlie Parker were on the bill.

His professional musical activities were eclectic, beginning with performances as a pianist and composer for the radio. After composing music for Riso Amaro (Bitter Rice, 1949) with Goffredo Petrassi, Trovajoli composed for another box-office hit, Alberto Lattuada's Anna (1951), starring Silvana Mangano as the eponymous nun. In the film, Anna dances a tango and sings Trovajoli's song El Negro Zumbon, which went on to become an international hit in a recording by Amália Rodrigues.

In 1962 Trovajoli was asked to compose the music for a film by the director Pasquale Festa Campanile about the 19th-century Roman popular hero Rugantino. By coincidence, the managers of the Sistina theatre, in Rome, Pietro Garinei and Sandro Giovannini, were also preparing a musical stage comedy about Rugantino. To avoid the clash, it was agreed that Campanile would make his film later, and Garinei and Giovannini were able to engage Trovajoli to write the music for their show. It opened in December 1962 and became an immediate hit. One of the numbers, written in Roman dialect, Roma Nun fa' la Stupida Stasera (Rome Don't Be Stupid This Evening), is still treated by locals as the city's paean. The show was revived many times.

An enthusiastic review in January 1963 was read by two American impresarios who travelled to Rome to see it. One wanted to translate it into English but Garinei and Giovannini accepted the other proposal, which was to bring the show to New York in its original Italian production, with the addition of English surtitles. It turned out to be a success; the two-week scheduled run was extended for a further three weeks.

This was the first of many musical stage comedies that Trovajoli, Garinei and Giovannini did together. In 1965 they made Ciao Rudy, with Marcello Mastroianni taking the role of Rudolph Valentino. His performance won audiences' sympathy but the show was not a great success. A much bigger hit was Aggiungi un Posto a Tavola (Add An Extra Seat at the Table) – though Trovajoli, not a religious man, was embarrassed by the evangelical tone of the show. It would be seen in London in English as Beyond the Rainbow.

Trovajoli is survived by his second wife, Maria Paola, and their son, Giorgio; and a son, Howard, from his marriage to the actor Pier Angeli, which ended in divorce.

(By John Francis Lane from guardian.co.uk)

The 101 Strings Orchestra - Best Loved Waltzes (Strauss)

1. Tales from the Vienna Woods
2. Blue Danube Waltz
3. Emperor Waltz
4. Treasure Waltz
5. Perpetual Motion
6. Die Fledermaus
7. Roses from the South
8. Win, Women and Song
9. Acceleration Waltz
10. Tousand and One Nights
11. Artist's Life
12. Village Swallows
13. Tric Trac Waltz
14. Voices of Spring
15. Radetsky Waltz
16. Pizzicato Waltz

Best Loved Waltzes

Orquestra Sinfônica Românticos de Cuba - Clair de Lune

1. Sonho de Amor (Franz Liszt)
2. Clair De Lune (Debussy)
3. Concerto Nº1 Op.16 (E. Grieg)
4. 6ª Sinfonia Op.74 (Tchaikovsky)
5. Reverie (Schumann)
6. Concerto Nº1 Op.23 (Tchaikovsky)
7. Concerto Nº2 Op.18 (Rachmaninoff)
8. Lago do Cisne (Tchaikovsky)
9. 3ª Sinfonia Op.90 (J. Brahms)
10. 5ª Sinfonia Op.64 (Tchaikovsky)

Clair de Lune

The 101 Strings Orchestra - Great Melodies

1. Concerto in B Flat Minor (Tchaikovsky)
2. Polovtzian Dances (Borodin)
3. Serenade (Drigo)
4. Rachmaninoff's Concerto in C Minor
5. On Winds of Song (Mendelsohn)
6. Fantasie Impromptu (Chopin)
7. Pathetique (Tchaikovsky)
8. Musetta's Waltz (Puccini)
9. Gaite Parisienne (Offenbach)
10. Scheherazade (Rimsky-Korsakov)
11. Londonderry Air (Danny Boy - Trad)
12. Mozart's Piano Concerto #21 in G
13. Reverie (Debussy)
14. Estrellita (Ponce)
15. Tannhäuser (Wagner)
16. Romeo and Juliet (Tchaikovsky)
17. Clair De Lune (Debussy)
18. Waves of the Danube (J. Ivanovici)
19. Etude in E Major (Chopin)
20. Berceuse (Armas Jarnefelt)
21. Serenade (Schubert)
22. Tchaikovsky's 5th, 2nd Movement
23. Romance (Rubinstein)
24. Variation on a Theme from Paganni (Rachmaninoff)
25. Swan Lake (Tchaikovsky)

Great Melodies

Enoch Light and the Light Brigade - The Big Band Sound of the Thirties

1. Begin the Beguine
2. In the Mood
3. I'm Getting Sentimental over You
4. South Rampart Street
5. Take the A Train
6. Moonlight Serenade
7. Let's Dance
8. Woodchopper's Ball
9. Ciribiribin
10. One O'clock Jump

Big Band Sound

Muitos destes músicos tiveram a oportunidade de tocar com os grandes nomes. Neste disco, Al Klink recria o seu memorável solo em "In the Mood", cuja gravação original participou, integrando a lendária orquestra de Glenn Miller. Bob Haggart utiliza o arranjo original por ele mesmo criado para a orquestra de Bob Crosby. Bernie Leighton completou recentemente uma "tourneé" européia integrando a orquestra de Benny Goodman. Urbie Green já pertenceu às orquestras de Woody Herman e Benny Goodman. Bernie Glow apareceu junto com a orquestra de Woody Herman. Buddy Morrow tocou com as orquestras de Tommy e de Jimmy Dorsey. Marvin Stamm tocou na orquestra de Woody Herman.

(Extraído das notas originais)

Dick Farney - Especial 30 Sucessos

1. Antes que Alguém se Lembre Dela (com Lúcio Alves)
2. Nick Bar
3. Marina
4. Meu Erro
5. Aeromoça
6. Não Tem Solução
7. A Saudade Mata a Gente
8. Tereza da Praia
9. Copacabana
10. Alguém como Tu
11. Uma Loura
12. Night and Day
13. Fotografia
14. Só Nós Dois
15. Ponto Final
16. Na Sua Ausência
17. Somos Dois
18. All the Way
19. A Fonte e o Teu Nome
20. Sábado em Copacabana
21. Meu Mundo é Você
22. Você Não Sabe Amar
23. Um Cantinho e Você
24. Este Seu Olhar
25. Inútil Paisagem
26. The Lady Is a Tramp
27. Ser ou Nao Ser
28. Nem Eu
29. Meu Rio de Janeiro
30. Meu Sonho é Você

Especial 30 Sucessos

Woody Herman and His Swinging Herd - The Jazz Swinger

1. Rock-A-Bye Your Baby with a Dixie Melody
2. April Showers
3. Swanee
4. Dinah
5. Waiting for the Robert E. Lee
6. Carolina in the Morning
7. Toot, Toot, Tootsie, Goodbye
8. There's a Rainbow 'Round My Shoulder
9. I'm Sitting on Top of the World
10. Sonny Boy
11. San Francisco

The Jazz Swinger

 

Apparently, the same Columbia executives who tried to get Miles Davis to record an album of forgettable melodies from the film Dr. Doolittle and were unsuccessful in persuading Thelonious Monk to record Beatles songs somehow talked Woody Herman into singing songs associated with Al Jolson. Not only did Herman have a much different singing style than Jolson but many of the dated lyrics were embarrassing even 30 years ago. As for the arrangements for the orchestra, the more modern they were, the cornier they sounded (particularly Bill Holman's modernization of "Swanee" and "Toot, Toot, Tootsie"). What a mess -- the only likable part about this misfire is the album drawing of Herman singing while down on one knee like Jolson; fortunately he was not drawn in blackface.  

(By Scott Yanow from allmusic.com)