Frank Chacksfield and His Orchestra - Close Your Eyes - Featuring Bobby Pratt on trumpet

1. Mean To Me
2. I've Got The World On A String
3. Lullaby Of The Leaves
4. By The Fireside
5. Close Your Eyes
6. The Call To Arms
7. Love Is The Sweetest Thing
8. A Blues Serenade
9. I Didn't Know What Time It Was
10. My Own
11. Let's Put Our Heads Together
12. Where Are You?

Close Your Eyes

Tony Bennett - Perfectly Frank

1. Time After Time
2. I Fall In Love Too Easily
3. East Of The Sun (West Of The Moon)
4. Nancy
5. I Thought About You
6. Night And Day
7. I've Got The World On A String
8. I'm Glad There Is You
9. A Nightingale Sang In Berkely Square
10. I Wished On The Moon
11. You Go To My Head
12. The Lady Is A Tramp
13. I See Your Face Before Me
14. Day In, Day Out
15. Indian Summer
16. Call Me Irresponsible
17. Here's That Rainy Day
18. Last Night When We Were Young
19. I Wanna Be In Love Again
20. A Foggy Day
21. Don't Worry 'Bout Me
22. One For My Baby
23. Angel Eyes
24. I'll Be Seeing You

Perfectly Frank

Featuring The Ralph Sharon Trio

Musicians:

Ralph Sharon, piano

Paul Langosch, bass

Joe LaBarbera, drums

"The Torch and Saloon Songs of Sinatra"

The date is October 13, 1974. My Mom, tragically bedridden, had her entire family around her. we were praying, doing everything to lift her spirits. Her only entertainment was watching television, so we were anxiously tuned in to a music special called "The Main Event". The performer was Sinatra, "The Champ", at Madison Square Garden. We were so enthralled with his performance. Suddenly, in-between two marvelous songs, he belts out that I'm his favorite singer. Taken by surprise, I looked over at my mom. Here eyes opened almost as big as her heart. It was one of the great moments of my life. I'll never forget what he did for me that day. It will remain one of the greatest moments of my life.

There is a warm side to Sinatra that has never been played up properly. Being "on the inside of show business", I can't begin to tell you how many human stories I've heard about the silent Sinatra. Highly philanthropic, he down-plays the thousands of worthwhile benefits he has done over the years. As a private man with a profound sense of loyalty to his friends, he never touts the generosity he has shown to those he loves. That's the man!

Now, the artist! In his day, Michelangelo was considered a stonecutter. Today, we all stand in awe of his perfection. With Sinatra, there is that same quality that will endure and be hard to top. Even though Sinatra's creative premise was popular entertainment, he never compromised on any of his recordings. Hundreds of years from now, these records will sound as fresh as they do today. His ability to communicate so strongly has hauled him to the top of the heap. Dedication to his craft has earned him the title - "King of the Entertainment World" - a position well deserved.

The United States is the youngest and most vital empire in existence. I believe popular entertainment is in and of itself an American art form. Above anyone else, Sinatra as a performer has contributed the highest level of excellence. He has given us all a legacy to aspire to and a standard to live by.

(Tony Bennett, from the original liner notes)

Hill Bowen and His Orchestra - I Married An Angel - For Hi-Fi Living Vol. 4

1. I Married An Angel
2. Lovely Lady
3. Taking A Chance On Love
4. Song Of Love
5. I'll Never Be The Same
6. Doll Dance
7. I Love You
8. More Than You Know
9. That Old Feeling
10. Once In A While
11. Blue Moon
12. Down Among The Sheltering Palms

I Married An Angel

Frank Chacksfield e sua Orquestra - Tango!

1. Adios Muchachos
2. Tonight
3. La Cumparsita
4. La Rosita
5. Midnight Tango
6. The Song Of The Rose
7. Hear My Song, Violetta
8. Tango de La Zarzuela
9. No Other Love
10. Aquellos Ojos Verdes
11. Tango Romano
12. Solamente Una Vez

Tango!

The Strings Of Paris - Romantic Flute Melodies (with Amanda Serafim) - Conducted by Jean Paul de la Tour

1. Lady Of The Dawn
2. Perhaps Love
3. Maladie D'Amour
4. Something
5. David's Song
6. I'm In The Mood For Love
7. Take That Look Off Your Face
8. Feelings
9. Heidschi Bumbeidschi
10. Here Comes The Sun
11. A Passage To India
12. Rondo Russo
13. Let It Be
14. Some Enchanted Evening
15. Annie's Song
16. Tristezza

Romantic Flute Melodies

101 Strings Orchestra - Memories Of Germany

1. Medley: In München Steht Ein Hofrauhaüs / Trink, Trink, Brüderlein, Trink
2. Du, Du, Liegst Mir Im Herzen
3. Medley: Kommt Ein Vöglein / Geflogen / In Schönen Wiesengrunde
4. Schwabing Polka
5. Lili Marlene
6. Wunderbar
7. Maiennacht
8. Kirschweih Polka
9. Die Lorelei
10. Auf Wiedersehn

Memories Of Germany

Nat King Cole - Collection

1. Quizas, Quizas, Quizas
2. La Feria De Las Flores
3. Tres Palabras
4. Yo Vendo Unos Ojos Negros
5. Vaya Con Dios
6. Aquellos Ojos Verdes
7. Ay, Cosita Linda
8. Solamente Una Vez
9. Cachito
10. Las Mañanitas
11. Adios Mariquita Linda
12. Noche De Ronda
13. Te Quiero Dijiste
14. No Me Platiques
15. Fantastico
16. Ansiedad
17. El Bodeguero
18. Nadie Me Ama
19. Capullito De Alleli
20. Adelita
21. La Golondrina
22. Arrivederci Roma
23. Perfidia
24. Piel Canela
25. Maria Elena
26. Guadalajara
27. Acercate Mas
28. Las Chapanecas
29. El Choclo
30. Aqui Se Habla En "Amor"

Collection

O mundo da canção, sobretudo o das grandes estrelas, é composto por talento, perseverança, técnica e sorte. Pode-se ter os três primeiros elementos em grau superlativo que, se a sorte se opuser, nunca deixará de ser um artista minoritário, reconhecido por uma fervorosa minoria, porém desconhecido pela imensa maioria. No caso de Nathaniel Adam Cole, que é o verdadeiro nome de Nat King Cole, a sorte chegou na forma de um cliente bêbado. Nat tocava piano com um trio de jazz e já tinha prestígio neste terreno. Sobretudo porque seu grupo era composto por guitarra, baixo e seu piano, algo original neste campo. a falta da bateria se deve a uma casualidade. No dia da estréia no "Hollywood's Inn" o percussionista não se apresentou; concluíram que não importava a sua ausência. Logo abriram mão dele... Numa certa noite, tocando em um clube, um cliente alcoolizado insistiu para que Nat cantasse sua canção favorita. Nesta época, Cole estava concentrado em sua performance como pianista e não cantava profissionalmente; então, teve que ser convencido pelo gerente do clube, disposto a evitar atritos, para que cantasse o tema exigido pelo cliente. O resultado foi o descobrimento de uma voz absolutamente excepcional. De Nat, se diz que, tivesse ele nascido branco, teria feito Bing Crosby e Frank Sinatra se aposentarem juntos. Mas não precisava de rivais. Hoagy Carmichael, autor de "Stardust", afirmou que ninguém cantara tão bem seu tema quanto Nat King Cole. Mais surpreendente pode ser a confissão de um roqueiro, Chuck Berry: "Se tivesse que escutar um só artista durante a eternidade, o artista seria Nat Cole". 

Nat nasceu a 17 de março de 1917 em Montgomery - Alabama, ainda que algumas biografias o façam dois anos mais jovem. Morreu em 19 de fevereiro de 1965, vítima de câncer na garganta, prodigiosa garganta, na California. ao longo dos 46 anos de vida, colocou 76 canções nas paradas da revista "Billboard", entre elas diversos nºs 1. Além disso, 24 Lps, sendo que e os discos só conviveram durante dez anos, visto que este formato só começou a ser editado em 1956. Em 1950, meses antes da Revolução Castrista, decidiu ganhar dinheiro cantando em espanhol e partiu para Cuba para gravar alguns dos boleros mais famosos da época, sob a direção do músico local, Armando Romeu Jr. Lançou o disco "Cole Español" e o resultado já tremendo em todos os mercados de língua espanhola. Na relação de repertório estavam "Quizas, Quizas, Quizas", "Adelita", "Te Quiero Dijiste", "Maria Elena" ou "El Bodeguero". Imediatamente, Nat King Cole pensou num segundo disco, desta vez alternando as canções em espanhol e em português. Para isso, Nat veio ao Brasil, desta vez com um diretor musical norte-americano e gravou "A Meus Amigos". O diretor era Dave Cavanaugh e no repertório estavam os dois temas básicos da discografia de Cole em castelhano: "Ansiedad" e "Perfidia". Este disco surgiu em 1959 e não fez mais do que repetir o triunfo do primeiro. Havia espaço para um terceiro disco, mas resolveram esperar um pouco.

Foi no México, em 1961, que Cole gravou seu terceiro Lp em língua hispância, intitulado "Cole Espanhol, Novamente". Ralph Carmichael dirigiu os arranjos e ali estavam "Piel Canela" e "Solamente Una Vez", que completavam a obra de Nat King Cole em espanhol.

Um verdadeiro presente para todos os fãs; até o ponto de que para muitos, algumas dessas versões são as melhores, as definitivas. Canções que conheceram muitas vozes e muitos arranjos. é importante dizer que não foram só boleros que Nat buscou na tradição hispânica. Também gravou algum cha-cha-cha inesquecível, como "El Bodeguero", um tango quase ininteligível, como "El Choclo" ou rancheiras como "Adelita" e "La Feria De Las Flores", sem esquecer "Las Mañanitas".

Entre seus êxitos em inglês consta uma canção já clássica: "Unforgettable". Significa inesquecível e Nat - "O Rei" - é isso: inesquecível!

(Jose Ramon Pardo, das notas originais do álbum)

The Mantovani Orchestra - Mantovani Magic - All Time Greatest Hits

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. By 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

The Ray Brown All Stars - Don't Forget The Blues

1. Blues'd Out
2. Jim
3. Night Train
4. If I Could Be With You (One Hour Tonight)
5. Rocks In My Bed
6. You Don't Know Me
7. Jumpin' The Blues
8. Don't Forget The Blues

Personnel:
Ray Brown, bass
Ron Eschete, guitar
Al Grey, trombone
Gene Harris, piano and fender rhodes
Grady Tate, drums

Don't Forget The Blues

Ray Brown need not have made the statement "Don't Forget The Blues" in this collection, because the blues have become akin to the pyramids - they will last forever. What form of folk poetry has so encapsulated the entire range of human emotions other than the blues. Traditionally, the blues have been something like an escape valve venting off either joy or sorrow - love or hate. The fact the blues have accomplished its point with minimum verbiage and succintness is one of its endless charms. The blues gets to the point immediately and doesn't "beat around the bush". Nowhere is it more evident than in a song that Lil Green used to sing years ago - "I knew you were jivin' when I took you in". Obviously, there are disastrous results ahead, and the male-female relationship is headed for trouble, but that is the basic charm of the blues. The average soap opera might possibly take a month's performances to put the same idea across as that one line in Lil Green's cogent statement.

It is safe to say that jazz would not have the same impact without the solid foundation of the blues. For a music form which by some standards was considered primitive, it has remained resilient enough so that a player without blues roots is suspect. That cannot be said about the quintet Ray Brown fronts on this date. Each musician has had considerable experience in any number of groups and record sessions over the years, and credentials are firmly established.

Guitarist ron Eschete has recently traveled as a member of a Ray Brown group, and before that with Gene Harris. Gene is remembered affectionately for his early work with "The Three Sounds" and countless sessions since then. Trombonist Al Grey has the capacity to put his smile through the bell of his horn and the result is exceptional. All the important people want Grady Tate on their date, and this session is no exception. As for Ray Brown, his studio time is legendary, to say nothing of the road time.

Blues'd Out opens this session with some positive trombone emphasis from al Grey's finger poppin' tempo, definitely setting the mood for the rest of the date.

Jim has been around for many years, and in this version Gene Harris adds the proper touch of sentiment in switching to the electric keyboard. Ray Brown is also highlighted prominently with appropriate sensitivity.

In blues repertoire, trains have figured prominently, and Night Train is no exception. That familiar train Jimmy Forrest introduced years ago, and the mournful clatter of wheels on track - including some nightime sounds - solidifies the fact that blues and trains do make positive sounds.

Fats Waller's mentor, pianist James P. Johnson, wrote the next piece has been around since the 20's - If I Could Be With You (One Hour Tonight). Al Grey weaves some gentle trombone magic to introduce this sentimental favorite and the mood is then carried on by guitarist Ron Eschete.

Duke Ellington's musical review "Jump For Joy" included the next item - Rocks In My Bed. Ivie Anderson sang on the 1941 Ellington recording but this instrumental blues treatment allows Ron Eschete to draw on every blues strain he has ever heard - to the extent the collective effort goes beyond the blues and is more appropriately indigo.

Eddy Arnold's classic - You Don't Know Me - has all the anguish of lost love, and blues are never more at home than in dealing with the endless misfortunes confronting man and woman. Gene Harris particularly stands out, and the band conveys the proper levels of angst.

Kansas City put the blues into high gear, and Jay McShann's Jumpin' The Blues here is no exception. Drummer Grady Tate wheels this group in the right direction with ho holds barred.

Don't Forget The Blues is Ray Brown's final admonition. There is a churchlike approach to this closing statement with an exactness which is disarming. Another of the positive factors about the blues is its unpretentiousness.

The blues are not a gimmick, nor a fad, and its honesty and lack of affection is the glue which holds it together. Ray Brown needn't worry - how could anyone forget the blues!

(by Felix Grant from the original liner notes)

The huge and comfortable sound of Ray Brown's bass was a welcome feature on bop-oriented sessions for over a half-century. He played locally in his native Pittsburgh in his early days.

Arriving in New York in 1945, on his first day in town Brown met and played with Dizzy Gillespie, Charlie Parker, and Bud Powell. He was hired by Gillespie for his small groups and his big band; "One Bass Hit" and "Two Bass Hit" were early features, and he can be seen with Dizzy Gillespie in the 1947 film Jiving in Bebop. Although not a soloist on the level of an Oscar Pettiford, Brown's quick reflexes and ability to accompany soloists in a swinging fashion put him near the top of his field. After playing with Jazz at the Philharmonic, he married Ella Fitzgerald (their marriage only lasted during 1948-1952), and for a time led his own trio to back the singer. Brown recorded with an early version of the Modern Jazz Quartet (under Milt Jackson's leadership), and then became a permanent member of the Oscar Peterson Trio (1951-1966).

With Peterson, the bassist traveled the world, guested with other top jazz artists, was featured on JATP tours, became famous, and recorded constantly. He began playing cello in the late '50s, and used it on a few of his own dates. After leaving Peterson, Brown settled in Los Angeles, worked in the studios, continued recording jazz, and worked as a manager of several artists (including the Modern Jazz Quartet and Quincy Jones). He played with the L.A. Four starting in 1974, did a great deal to revive the careers of Ernestine Anderson and Gene Harris, and recorded extensively for Pablo and Concord. The Ray Brown Trio featured pianists Gene Harris, Benny Green, and Geoff Keezer, along with drummers Jeff Hamilton and Greg Hutchison, and recorded for Concord and Telarc. He continued touring up until his death, dying in his sleep while napping before a show in Indianapolis on July 2, 2002. His last batch of sessions, working as a trio with pianist Monty Alexander and guitarist Russell Malone, were released that fall. 

(by Scott Yanow from allmusic.com)

The Manzanilla Sound - Make Mine Manzanilla

1. Mammy Blue
2. Summer Of '42
3. Matchmaker, Matchmaker
4. I'd Like To Teach The World To Sing
5. Smile
6. Why Can't Well All Get Together
7. Cat Walk
8. Flirt! (Pour Un Flirt)
9. Never My Love
10. Cabaret
11. Rangers Waltz
12. You've Lost That Lovin' Feelin'
13. Land For Lovers
14. Medway Magic

Make Mine Manzanilla

Gone With The Wind - Music Composed and Conducted by Max Steiner

1. Tara Theme - Main Title (including David O. Selznick's trademark)
2. The Barbecue Of Twelve Oaks
3. The Ball
4. Ashley And Scarlett
5. Mammy
6. Christmas In Atlanta
7. Fall Of The South
8. Intermission Music
9. Sherman's March Through Georgia
10. Ashley's Return From The War
11. Scarlett And Rhett At Tara
12. Belle Watling
13. Rhett And Bonnie
14. Scarlett's Fall - Rhett's Remorse
15. Bonnie's Death
16. Tomorrow Is Another Day - Finale

Gone With The Wind

Gone with the Wind is a 1939 American historical epic film adapted from Margaret Mitchell's Pulitzer-winning 1936 novel of the same name. It was produced by David O. Selznick and directed by Victor Fleming from a screenplay by Sidney Howard. Set in the 19th century American South, the film stars Clark Gable, Vivien Leigh, Leslie Howard, Olivia de Havilland, and Hattie McDaniel, among others, and tells a story of the American Civil War and Reconstruction era from a Southern point of view.

The film received 10 Academy Awards (8 competitive, 2 honorary), a record that stood for 20 years. Ben-Hur surpassed it in 1960. In the American Film Institute's inaugural Top 100 Best American Films of All Time list of 1998, it was ranked fourth, and in 1989 was selected to be preserved by the National Film Registry. The film was the longest American sound film made up to that time – 3 hours 44 minutes, plus a 15 minute intermission, and was among the first of the major films shot in color (Technicolor), winning the first Academy Award for Best Cinematography in the category for color films. It became the highest-grossing film of all-time shortly after its release, holding the position until 1966; after adjusting for inflation, it has still earned more than any other film in theater rentals. As of 2011, there are seven surviving cast members from the film.

The film opens on a large cotton plantation called Tara in rural Georgia in 1861, on the eve of the American Civil War. Scarlett O'Hara (Vivien Leigh) is flirting with the two Tarleton brothers, Brent (Fred Crane) and Stuart (George Reeves), who have been expelled from the University of Georgia. Scarlett, Suellen (Evelyn Keyes), and Careen (Ann Rutherford) are the daughters of Irish immigrant Gerald O’Hara (Thomas Mitchell) and his wife, Ellen O'Hara (Barbara O'Neil), who is of aristocratic French ancestry. The brothers share a secret with Scarlett: Ashley Wilkes (Leslie Howard), whom Scarlett secretly loves, is to be married to his cousin, Melanie Hamilton (de Havilland). The engagement is to be announced the next day at a barbecue at Ashley's home, the nearby plantation Twelve Oaks.

At Twelve Oaks, Scarlett notices that she is being admired by Rhett Butler (Clark Gable), who has been turned out of West Point and disowned by his Charleston family. Rhett finds himself in further disfavor among the male guests when, during a discussion of the probability of war, he states that the South has no chance against the superior numbers and industrial might of the North. Scarlett sneaks out of the afternoon nap time to be alone with Ashley in the library, and confesses her love for him. He admits he has always secretly loved Scarlett but that he and the sweet Melanie are more compatible. She accuses Ashley of misleading her and slaps him in anger. Ashley exits as Rhett reveals he has overheard the whole conversation, sleeping unseen on a couch. Rhett promises to keep her guilty secret. Scarlett leaves the library in haste, and the barbecue is disrupted by the announcement that war has broken out. The men rush to enlist, and all the ladies are awakened from their naps. As Scarlett watches Ashley kiss Melanie goodbye from the upstairs window, Melanie’s shy young brother Charles Hamilton (Rand Brooks), with whom Scarlett had been innocently flirting, asks for her hand in marriage before he goes. Despite not truly loving Charles, Scarlett consents. They are married before he leaves to fight.

Scarlett is quickly widowed when Charles dies from a bout of pneumonia and measles while in the Confederate Army. Scarlett's mother sends her to the Hamilton home in Atlanta to cheer her up, although the O’Haras' outspoken housemaid Mammy (Hattie McDaniel) tells Scarlett she knows she is going there only to wait for Ashley’s return. Scarlett and Melanie attend a charity bazaar in Atlanta; Scarlett, who should be in deep mourning, is turned against and whispered about. Rhett, now a heroic blockade runner for the Confederacy, makes a surprise appearance. Scarlett shocks Atlanta society even more by accepting Rhett's large bid for a dance. While they dance, Rhett tells her of his intention to win her, which she says will never happen as long as she lives.

The tide of war turns against the Confederacy after the Battle of Gettysburg in which many of the men of Scarlett's town are killed. Scarlett makes another unsuccessful appeal to Ashley’s heart while he is visiting on Christmas furlough, although they do share a private and passionate kiss while in the parlor on Christmas Day, just before he leaves for the war. In the hospital, Scarlett and Melanie care for a convalescent soldier (Cliff Edwards).

Eight months later, as the city is besieged by the Union Army in the Atlanta Campaign, Melanie goes into a premature and difficult labor. Staying true to a promise Scarlett made to Ashley to "take care of Melanie," she and her young house servant Prissy (Butterfly McQueen) must deliver the child without medical attendance. Scarlett calls upon Rhett to bring her home to Tara immediately with Melanie, Prissy, and the baby. He appears with a horse and wagon to take them out of the city on a perilous journey through the burning depot and warehouse district. He leaves her with a nearly dead horse, helplessly frail Melanie, her baby, and tearful Prissy, and with a passionate kiss as he goes off to fight. On her journey home, Scarlett finds Twelve Oaks burned out, ruined and deserted. She is relieved to find Tara still standing but deserted by all except her parents, her sisters, and two servants: Mammy and Pork (Oscar Polk). Scarlett learns that her mother has just died of typhoid fever and her father's mind has begun to crumble under the strain. With Tara pillaged by Union troops and the fields untended, Scarlett vows she will do anything for the survival of her family and herself, exclaiming, "As God is my witness, I'll never be hungry again!"

Scarlett sets her family and servants to picking the cotton fields. She also kills a Union deserter who threatens her during a burglary and finds Union currency in his wallet, enough to sustain her family and servants for a time. With the defeat of the Confederacy and war's end, Ashley returns. Mammy restrains Scarlett from running to him when he reunites with Melanie. The dispirited Ashley finds he is of little help to Tara, and when Scarlett begs him to run away with her, he confesses his desire for her and kisses her passionately, but says he cannot leave Melanie. Gerald O'Hara dies after he is thrown from his horse in an attempt to chase from his property a Scalawag, his former plantation overseer (Victor Jory) who now wants to buy Tara.

Scarlett realizes she cannot pay the rising taxes on Tara implemented by Reconstructionists. Knowing Rhett is in Atlanta, she has Mammy make an elaborate gown for her from her mother’s drapes. However, upon her visit, Rhett, now in jail, tells her his foreign bank accounts have been blocked, and that her attempt to get his money has been in vain. As Scarlett departs, she encounters her sister’s fiancé, the middle-aged Frank Kennedy (Carroll Nye), who now owns a successful general store and lumber mill. Scarlett lies to Kennedy by saying Suellen got tired of waiting and married another beau, and after becoming Mrs. Frank Kennedy, Scarlett takes over his business and becomes wealthy. When Ashley is about to take a job with a bank in the north, Scarlett preys on his weakness by weeping that she needs him to help run the mill; pressured by the sympathetic Melanie, he relents. One day, after Scarlett is attacked while driving alone through a nearby shantytown, Frank, Ashley, and others make a night raid on the shantytown. Ashley is wounded in a melee with Union troops, and Frank is killed.

With Frank’s funeral barely over, Rhett visits Scarlett and proposes marriage. Scarlett accepts. He kisses her passionately and tells her that he will win her love one day because they are both the same. After a honeymoon in New Orleans, Rhett promises to restore Tara to its former grandeur, while Scarlett builds the biggest mansion in Atlanta. The two have a daughter. Scarlett wants to name her Eugenie Victoria, but Rhett names her Bonnie Blue Butler (Cammie King). Rhett adores her. He does everything to win the good opinion of Atlanta society for his daughter’s sake. Scarlett, still pining for Ashley and chagrined at the perceived ruin of her figure (her waist has gone from eighteen-and-a-half inches to twenty), lets Rhett know that she wants no more children and that they will no longer share a bed. In anger, he kicks open the door that separates their bedrooms to show her that she cannot keep him away.

When visiting the mill one day, Scarlett listens to a nostalgic Ashley, and when she consoles him with an embrace, they are spied by two gossips including Ashley's sister India (Alicia Rhett), who hates Scarlett. They eagerly spread the rumor and Scarlett’s reputation is again sullied. Later that night, Rhett, having heard the rumors, forces Scarlett out of bed and to attend a birthday party for Ashley. Incapable of believing anything bad of her beloved sister-in-law, Melanie stands by Scarlett's side so that all know that she believes the gossip to be false.

At home later that night, Scarlett finds Rhett downstairs drunk. Blind with jealousy, he tells Scarlett that he could kill her if he thought it would make her forget Ashley. He carries her up the stairs in his arms, telling her, "This is one night you're not turning me out." She awakens the next morning with a look of guilty pleasure, but Rhett returns to apologize for his behavior and offers a divorce, which Scarlett rejects saying it would be a disgrace. Rhett decides to take Bonnie on an extended trip to London only to realize, after Bonnie suffers a terrible nightmare, that she still needs her mother by her side. Rhett returns and Scarlett is delighted to see him, but he rebuffs her attempts at reconciliation. She tells him that she is pregnant again. An argument ensues, and Scarlett, enraged, lunges at Rhett, falls down the stairs, and suffers a miscarriage. 

Rhett, frantic with guilt, cries to Melanie about his jealousy yet refrains from telling Melanie about Scarlett's feelings for Ashley. As Scarlett is recovering, little Bonnie dies while attempting to jump a fence with her pony. Scarlett blames Rhett; Rhett blames himself. Melanie visits the home to comfort them and convinces Rhett to allow Bonnie to be laid to rest, but then collapses during a second pregnancy she was warned could kill her.

On her deathbed, Melanie asks Scarlett to look after Ashley for her, as Scarlett had looked after her for Ashley. With her dying breath, Melanie tells Scarlett to be kind to Rhett because he loves her. Outside, Ashley collapses in tears, forcing Scarlett to realize that Ashley only ever truly loved Melanie. Scarlett runs home to find Rhett preparing to leave. She pleads with him, telling him she realizes now that she had loved him all along, that she never really loved Ashley. However, he refuses, saying that with Bonnie's death went any chance of reconciliation.

As Rhett walks out the door, she pleads, "Rhett, if you go, where shall I go? What shall I do?" He answers, "Frankly, my dear, I don't give a damn" and walks away into the fog. She sits on her stairs and weeps in despair, "What is there that matters?" She then recalls the voices of Gerald, Ashley, and Rhett, all of whom remind her that her strength comes from Tara itself. Hope lights Scarlett's face: "Tara! Home. I'll go home, and I'll think of some way to get him back! After all, tomorrow is another day!" Scarlett returns to the plantation, standing once more, resolute, before Tara.

(From Wikipedia, the free encyclopedia)

A Summer Place - Music Composed and Conducted by Max Steiner

1. Main Title
2. Dignity
3. Pine Island Off The Port Bow
4. There's A Boy Watching Me!
5. Flotsam And Jetsam
6. Romance Remembered
7. Bright Dreams / The Garden
8. A Filthy Word
9. Alone In The Attic
10. A Small! Prayer
11. The Boat House
12. Shipwrecked
13. Returning Home
14. The Examination
15. Hiding Among The Rocks
16. Harlot Of A Mother
17. A Common Slut / Molly Found
18. Scandal!
19. A Letter To Johnny
20. Long Distance Call
21. Liebestraum
22. Lohengrin
23. Merry Christmas Mama!
24. Ken Visits Molly At Briarwood
25. Ken And Sylvia's House
26. Reunion On The Beach
27. Shacking Up
28. Passion Discovered
29. Be Sensible
30. Holding Hands At Briarwood
31. Drunken Father
32. Homecoming / End Title

Summer Place

A Summer Place is a 1959 romantic drama film based on the novel of the same name by Sloan Wilson. It was directed by Delmer Daves and stars Richard Egan, Dorothy McGuire, Troy Donahue and Sandra Dee. The film would become famous for its main instrumental theme.

The story examines the adult lives of two onetime teen lovers, Ken (Egan) and Sylvia (McGuire), who were from different social strata. Ken was self-supporting, working as a lifeguard at Pine Island, an exclusive Maine resort, while Sylvia's nouveau riche family stayed as guests of the owners, one summer between years at college. They went on to marry different people – entirely the wrong people, it turned out. Ken's wife Helen (Constance Ford) turns out to be frigid and shuts him out romantically, while Sylvia's husband Bart (Arthur Kennedy) becomes an alcoholic, gradually costing him the family fortune. Ken buries himself in the research chemist's job he finds after college, while Sylvia devotes herself first to charity work, then motherhood.

The saving grace of each marriage is their children, Sylvia's son Johnny (Troy Donahue) and Ken's daughter Molly (Sandra Dee). Ken and Sylvia meet again on Pine Island after twenty years, with Ken now wealthy through his chemistry work, while Bart has turned his family's mansion (their sole remaining asset) into an inn, which is failing. Johnny and Molly meet and fall in love, while Ken and Sylvia begin to cheat on their spouses with each other.

Ken and Sylvia eventually leave their spouses and marry. Bart ends up being taken to a sanitarium for treatment of his alcoholism but not after Johnny and Molly visit him requesting permission to marry as Molly is pregnant.

(From Wikipedia, the free encyclopedia)

The composer

Austrian-born film composer Max Steiner (May 10, 1888 – December 28, 1971) was the grandson of the musical impresario who discovered Strauss and brought Offenbach to Vienna. Growing up with a rich heritage of opera and symphony all about him, Steiner developed into a musical prodigy; at the age of 13 he graduated from the Imperial Academy of Music, completing the course in one year and winning the Gold Medal of the Emperor. Already a composer at 14 and conductor at 16, Steiner moved from Austria to England in 1905, remaining there to conduct at His Majesty's Theatre until 1914. With the outbreak of the war, he emigrated to America, where he kept busy with Broadway musicals and operettas. One of his most beneficial American jobs was to compose the music to be conducted during screenings of the silent film The Bondman (1915); he became a friend of William Fox, the film's producer, giving Steiner early entree into the Hollywood that would so gainfully employ him in later years. In 1929, he was brought to fledgling RKO Radio Studios to orchestrate the film adaptation of Ziegfeld's Rio Rita (1929). Always confident in his talents, Steiner was realistic enough to understand that he was hired by RKO because he cost a tenth of what someone like Stokowski would charge. While at RKO, he developed his theory that music should be a function of the dramatic content of a film, and not merely background filling. His scores for such films as Symphony of Six Million (1932), The Informer (1935), and, especially, King Kong (1933) are carefully integrated works, commenting upon the visual images, augmenting the action, and heightening the dramatic impact. While Steiner's detractors would characterize his spell-it-out technique as "Mickey Mousing" (in reference to the music heard in animated cartoons), producers, directors, and stars came to rely upon Steiner to make a good film better, and a great film superb. After 111 pictures at RKO, Steiner was hired by David O. Selznick, who assigned the composer to write the score for Gone with the Wind (1939). Virtually 75-percent of this 221-minute epic required music of some sort, and Steiner rose to the occasion with what many consider his finest work. One concept refined in Gone with the Wind was to give each important character his or her own separate musical motif -- quite an undertaking when one realizes how many speaking parts there were in the film. Around that time, Steiner began working at Warner Bros, where he penned the studio's famous "opening logo" fanfare and also provided evocative scores for such classics as Now Voyager (1942), Casablanca (1942), and Mildred Pierce (1945). A proud, vain man, Steiner frequently found himself the butt of good-natured practical jokes from his fellow composers, but at Oscar time, it was usually Steiner who had the last laugh. He remained active until 1965, contributing scores to The Caine Mutiny (1954), The Searchers (1955), A Summer Place (1959), and many other films. It was only at the very end of his career, with such retrogressive scores as Youngblood Hawke (1964), that Max Steiner's once-revolutionary technique began to sound old hat. 

(by Hal Erickson from allmusic.com)

Paul Weston and His Orchestra - Music for a rainy night

1. I'll Remember April
2. I See Your Face Before Me
3. Little Girl Blue
4. A Garden in the Rain
5. Dearly Beloved
6. Soon
7. Isn't It Romantic
8. Fools Rush In (Where Angels Fear to Tread)
9. I Can't Get Started
10. You're Nearer
11. Day by Day
12. Why Was I Born

Music For A Rainy Night

Paul Weston - Music for Memories

1. Just Friends
2. You Go To My Head
3. Blue Moon
4. Love Locked Out
5. My Moonlight Madonna
6. No Other Love
7. All The Things You Are
8. Somebody Loves Me
9. Deep Purple
10. East Of The Sun
11. I'll Be Seeing You
12. I'll String Along With You

Music For Memories

Paul Weston (born Paul Weststein, March 12, 1912 – September 20, 1996) was one of the most diverse and talented arrangers and conductors of the '40s and '50s, moving from mainstream swing and jazz to instrumental easy listening pop in the course of his career. Though he began his career playing hard swing, Weston is the father of mood music -- lush, relaxing instrumental orchestral pop designed to provide a soundtrack to everyday events like romance and dining. Originally, Weston was an economics major at Dartmouth. While he was a student, he became fascinated with jazz, particularly swing, and began playing in various college bands. Soon, he decided to pursue a career in music.

Weston became known as a vocal arranger. His work with Rudy Vallee brought him to national attention. After arranging for Vallee, he attempted to work with Bing Crosby, but the results were unsuccessful. Following the failed Crosby venture, Weston became an arranger for Tommy Dorsey, which is where he made his reputation. While with Dorsey, he wrote jumping, swinging charts for the band and vocalists like Dinah Shore and Jo Stafford, whom he would marry in the mid-'40s.

Weston became the A&R director for Capitol Records in 1944, when the label was just beginning. Though he continued to write fast swing charts for a time, Weston noticed that the tastes of the public were beginning to move toward gentler material, so he adjusted his music accordingly. Weston released his first album of mood music, Music for Dreaming, in 1945. Music for Dreaming was decidedly calmer than his previous work, though there was a subtle swing driving the subdued music. The album was a major success, and Weston continued to record albums of smooth, string-laden music for the next five years. By 1950, the term "mood music" had been adopted by the press to describe this style of instrumental pop.

Weston left Capitol Records in 1950 for Columbia Records, where he continued to record albums of instrumental mood music. He also continued to write arrangements and conduct sessions for artists like Sarah Vaughan, Ella Fitzgerald, Dinah Shore, and Doris Day. By the end of the decade, he had returned to Capitol Records, where he stayed throughout the '60s.

During this time, he and Jo Stafford recorded a handful of albums as Jonathan & Darlene Edwards. The Jonathan & Darlene albums were comedy records that parodied nightclub acts; on each record Stafford sang offkey and Weston horridly played out of time and out of key.

In the early '70s, Weston and Stafford both retired. The couple began a reissue label, Corinthian Records, in the early '90s which released CD versions of their music. 

(by Stephen Thomas Erlewine from allmusic.com)

I Love Those Songs - Various Artists

1. A Fine Romance - Margaret Whiting
2. A Taste Of Honey - Tony Bennett
3. Embraceable You - Cleo Laine
4. Hello Dolly! - Matt Monro
5. I Wanna Be Around - Tony Bennett
6. I'm Old Fashioned - Ella Fitzgerald
7. I'm Through With Love - Bob Manning
8. I've Never Been In Love Before - Barbra Streisand
9. La Vie En Rose - Melissa Manchester
10. Love Me Or Leave Me - Doris Day
11. Moonlight Becomes You - Dick Haymes
12. Our Love Is Here To Stay - Dinah Shore
13. S' Posin' - The Kirby Stone Four
14. Smile - Neil Sedaka
15. Somethin' Stupid - Peggy Lee
16. Sunrise, Sunset - Johnny Hartman
17. Tennessee Waltz - Patti Page
18. The Girl From Ipanema - Vic Damone
19. The Lady Is A Tramp - Frank Sinatra
20. There Goes My Heart - Nat King Cole
21. These Boots Are Made For Walkin' - Jane Morgan
22. Till There Was You - John Gary
23. Vaya Con Dios - Les Paul & Mary Ford
24. Yesterday - Eddie Fischer
25. You've Changed - George Michael
26. When My Baby Smiles At Me - Bobby Darin

I Love Those Songs

Ray Charles & Cleo Laine - Porgy & Bess - Orchestra arranged and conducted by Frank DeVol

1. Summertime
2. My Man's Gone Now
3. A Woman Is A Sometime Thing
4. They Pass By Singin'
5. What You Want Wid Bess?
6. I Got Plenty O' Nuttin'
7. Buzzard Song
8. Bess, You Is My Woman
9. Oh, Doctor Jesus
10. Crab Man
11. Here Come De Honey Man
12. Strawberry Woman (Instrumental)
13. Strawberry Woman
14. It Ain't Necessarily So
15. There's A Boat Dat's Leavin' Soon For New York
16. I Loves You, Porgy
17. Oh, Bess, Oh Where's My Bess (Instrumental)
18. Oh, Bess, Oh Where's My Bess
19. Oh, Lord, I'm On My Way

Porgy & Bess

Charles and Cleo Laine duet on the songs from George Gershwin's opera, in a version arranged and conducted by Frank DeVol (who provides extra instrumentals) and produced by Norman Granz. The material is perfect for the performers, and they give it an effective, if unstudied, treatment.  

(by William Ruhlmann from allmusic.com)

Cleo Laine

Ray Charles

Frank DeVol

Tony Bennett - Snowfall - The Tony Bennett Christmas Album - Music arranged and conducted by Robert Farnon

1. My Favorite Things
2. The Christmas Song (Chestnuts Roasting On An Open Fire)
3. Santa Claus Is Comin' To Town
4. Medley: We Wish You A Merry Christmas / Silent Night, Holy Night / O Come All Ye Faithful / Jingle Bells / Where Is Love
5. Christmasland
6. I Love The Winter Weather / I've Got My Love To Keep Me Warm
7. White Christmas
8. Winter Wonderland
9. Have Yourself A Merry Little Christmas
10. Snowfall
11. I'll Be Home For Christmas

Christmas Album

The Mantovani Orchestra - Santa's Helpers

1. O Come All Ye Faithful
2. Medley: Sleigh Ride / Jingle Bells / Christmas Song / Let It Snow / Winter Wonderland / Santa Claus Is Coming To Town / Rudolph The Red-Noised Reindeer
3. Good King Wenceslas
4. The Holly And The Ivy
5. Greensleeves (What Child Is This?)
6. Sleeping Beauty - Pas De Deux
7. Ding Dong Merrily On High
8. Silent Night

Santa's Helpers

The Beegie Adair Trio - Jazz Piano Christmas

1. Let It Snow! Let It Snow! Let It Snow!
2. Santa Claus Is Coming To Town
3. Have Yourself A Merry Little Christmas
4. I've Got My Love To Keep Me Warm
5. The Christmas Song
6. The Little Drummer Boy
7. Frosty The Snowman
8. White Christmas
9. God Rest Ye Merry, Gentlemen
10. The Christmas Waltz
11. What Are You Doing New Year's Eve
12. O Little Town Of Bethlehem / When You Wish Upon A Star
13. Jingle Bells

Jazz Piano Christmas