ALEXANDER GLAZUNOV: THE SEASONS - Bitrate: 256

01 - Introduction
02 - Four Variations
03 - Frost
04 - Ice
05 - Hail
06 - Snow
07 - Coda
08 - Scene
09 - Scene
10 - Waltz of the Cornflowers & The Poppies
11 - Barcarolle
12 - Variations
13 - Coda
14 - Bacchanale and Appearance of Seasons
15 - Adagio
16 - Scene and Apotheosis
17 - Préambule
18 - Marionettes
19 - Mazurka
20 - Scherzino
21 - Pas d'action
22 - Dans Orientale
23 - Valse
24 - Polonaise


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Alexander Borodin
(1833 - 1887)
Alexander Porfir'yevich Borodin (November 12, 1833 - February 27, 1887) was a genius in several fields. The illegitimate son of a nobleman and a peasant, his aristocratic connection allowed him to receive a better education than almost any other serf of his time. His father, at his death in 1843, freed Borodin from serfdom. (Steve Schwartz )

Complete Bio

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Turk Murphy’s Frisco Jazz Band – Live! - Bitrate: 224 (lp)

01 - My Heart
02 - Evolution Mamma
03 - Big Bear Stomp
04 - Gone Daddy
05 - Dr. Jazz
06 - 50 Miles Of Ellbowroom
07 - The Pearls
08 - Lassus Trombone
09 - St. James Infirmary
10 - Panama
11 - Mabel's Dream


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Born: December 16, 1915, Palermo, CA
Died: May 30, 1987, San Francisco, CA
Active: '30s, '40s, '50s, '60s, '70s, '80s
Genres: Jazz
Instrument: Trombone, Leader
Representative Albums: "The Earthquake McGoon Recordings," "Turk Murphy's Jazz Band Favorites, Vol. 2," "Turk Murphy's Jazz Band Favorites"
Representative Songs: "St. James Infirmary," "King Porter Stomp," "The Maple Leaf Rag"
Biography
Turk Murphy led one of the most popular bands of the San Francisco Dixieland movement. After playing with various big bands (including Mal Hallett and Will Osborne), Murphy first gained fame for his work with Lu Watters' highly influential Yerba Buena Jazz Band (1940-1947). He formed his own group in 1947 and after 13 years, they found a permanent home at Earthquake McGoon's and also toured occasionally. Although not thought of as a virtuoso trombone soloist and his occasional singing was just passable, Murphy's ensemble work was superior and he put together a stimulating repertoire filled with obscurities and favorites from the 1920s (along with some newer originals). His bands were always very musical; among his sidemen through the years were trumpeters Don Kinch, Bob Short, and Leon Oakley; clarinetist Bob Helm; pianists Wally Rose, Pete Clute, and Ray Skjelbred; and singer Pat Yankee. Turk Murphy and his beloved group made many records for such labels as Good Time Jazz, Fairmont, Columbia (1953-1956), Verve, Dawn Club, Roulette, RCA, Motherlode, Atlantic, GHB, MPS, Stomp Off, and Merry Makers. ~ Scott Yanow, All Music Guide


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Film Musicals - Royal Philharmonic Orchestra - Mike Townend - Bitrate: 224

01 - Tea For Two From Tea For Two
02 - Tonight From West Side Story
03 - I Wanna Be Loved By You From Some Like It Hot
04 - Shall We Dance From The King And I
05 - The Rain In Spain From My Fair Lady
06 - I Could Have Dance All Night From My Fair Lady
07 - Sunrise Sunset From Fiddler On The Roof
08 - Moonlight Serenade From The Glenn Miller Story
09 - Edelweiss From The Sound Of Music
10 - Some Enchanted Evening From South Pacific
11 - Singing In The Rain From Singing In The Rain
12 - You'll Never Walk Alone From Carousel

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The Cradle Of Jazz: 17 – Bill Coleman - Buster Bailey – Cuttin' Out - Bitrate: 192

Bill Coleman

01 Believe It, Beloved
02 Baby Brown
03 I Believe In Miracles
04 Rosetta
05 Georgia On My Mind
06 Im In The Mood For Love
07 After Youve Gone
08 Coquette
09 Sweet Sue
10 Between The Devil And The Deep Blue Sea
11 Hangin Around Boudon
12 Indiana
13 Bill Street Blues
14 Swing Guitars
15 Three OClock Jump
16 O.K. For Baby
17 Beale Street Blues
18 I Newer Knew
19 Hawkins Barrel House
20 I'm Fer It Too
21 Linger Awhile

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Buster Bailey

01 Copenhagen
02 Santa Claus Blues
03 Jazzbo Brown From Memphis
04 Sensation
05 Kentucky
06 Theres A House In Harlem For Sale
07 Wild Party
08 Shanghai Shuffle
09 Warmin Up
10 More Than That
11 Rhythm, Rhythm
12 Ive Found A New Baby
13 Dizzy Debutante
14 Lorna Doone Short Bread
15 Knock-Kneed Sal
16 Corrine Corrini
17 Royal Garden Blues
18 Im Cuttin Out
19 Eccentric Rag
20 Cant We Be Friends?
21 Coquette
22 St. Louis Blues

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Bill Coleman

A mellow-toned swing trumpeter with a distinctive sound and a lyrical style, Bill Coleman was a consistent if never particularly famous musician. In 1927, he went to New York with Cecil and Lloyd Scott's band, with whom he made his recording debut. He worked with Luis Russell (1929-1932) and Charlie Johnson, and then in 1933 traveled to France with Lucky Millinder. Coleman recorded with Fats Waller (1934) and played with Teddy Hill's Orchestra (1934-1935), but then moved to France for the first time in 1935. While overseas, he recorded frequently as a leader (really coming into his own), with Willie Lewis' Orchestra, and on dates with Django Reinhardt. He ventured as far as Bombay, and spent 1938-1940 in Egypt with Herman Chittison. Returning to New York, Coleman played with Benny Carter, Teddy Wilson, Andy Kirk, Mary Lou Williams, and John Kirby during 1940-1945, and recorded with Lester Young and Coleman Hawkins (both in 1943). However, he preferred life in Europe and, after a period with groups led by Sy Oliver and Billy Kyle, in 1948, Coleman moved permanently back to France, staying active and recording fairly regularly up until his death in 1981. ~ Scott Yanow, All Music Guide


Buster Bailey

Buster Bailey was a brilliant clarinetist who, although known for his smooth and quiet playing with John Kirby's sextet, occasionally really cut loose with some wild solos (including on a recording called "Man With a Horn Goes Berserk"). Expertly trained by the classical teacher Franz Schoepp (who also taught Benny Goodman), Bailey worked with W.C. Handy's band in 1917. He moved to Chicago in 1919 and was soon working with Erskine Tate and King Oliver's Creole Jazz Band. He gained some fame in 1924 when he joined Fletcher Henderson's orchestra in New York. Bailey was with Henderson off and on during 1924-1934 and 1936-1937, also playing with Noble Sissle and the Mills Blue Rhythm Band (1934-1935). Next up was the cool-toned swing of John Kirby's sextet (1937-1946), a role he fit perfectly. With the end of the Kirby band, Bailey was mostly employed in Dixieland settings with Wilbur DeParis (1947-1949), Big Chief Russell Moore (1952-1953), Henry "Red" Allen (1950-1951 and 1954-1960), Wild Bill Davison (1961-63), and the Saints and Sinners (1963-1965), finishing up with the Louis Armstrong All-Stars (1965-1967). One of the most technically skilled of the clarinetists to emerge during the 1920s, Buster Bailey never modernized his style or became a leader, but he contributed his talents and occasional wit to a countless number of rewarding and important recordings. ~ Scott Yanow, All Music Guide

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Camerata Bariloche: Bartok, Barber, Vaughn Williams, Gandini- Bitrate: 192

01 Bartok - Divertimento SZ 113 - Allegro Non Troppo
02 Bartok - Divertimento SZ 113 - Molto Adagio
03 Bartok - Divertimento SZ 113 - Allegro Assai
04 Bartok - Danzas Populares Rumanas SZ 68
05 Barber - Adagio Para Cuerdas
06 Williams - Conc Oboe y Cuerdas - Rondo Pastorale
07 Williams - Conc Oboe y Cuerdas - Minuet y Musette
08 Williams - Conc Oboe y Cuerdas – Finale
09 Gandini - Balada

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Camerata Bariloche
De Wikipedia, la enciclopedia libre

La Camerata Bariloche es un conjunto de música de cámara argentino, fundado en 1967 que ha alcanzado prestigio internacional.


Creación: La idea de crear la Camerata fue producto del músico Alberto Lysy, quien organizaba Festivales de Música de Cámara en Buenos Aires con participación de músicos argentinos y extranjeros. Varios de estos músicos, viajaban a Bariloche para servir de docentes en la jornadas de perfeccionamiento musical que se desarrollaban en el camping musical en Bariloche. Hacia 1967 Lysy, organiza una serie de ensayos con dichos músicos en la sede de la Fundación Bariloche, en una casona llamada Soria Moria ubicada en la zona de Llao Llao, y el conjunto autodenominado Camerata Bariloche realiza su primer concierto en la Biblioteca Sarmiento de Bariloche el 17 de septiembre de 1967.

En sus orígenes la Camerata Bariloche fue financiada por la Fundación Bariloche, aunque pronto se independiza de la misma.

Directores: Su primer director fue Alberto Lysy, a quien sucedieron Rubén González, Elías Khayat, desde 1992 su director es Fernando Hasaj. La camerata se compone de unos 20 músicos, seleccionados entre los mejores de Argentina.

Solistas: La Camerata Bariloche ha tocado junto con numerosos solistas, como ser: Martha Argerich, Ernesto Bitteti, Ana y Nicolas Chumachenko, Katherine Ciesinsky, Eduardo Falú, Gerardo Gandini, Antonio Janigro, Cho-Liang Lin, Yehudi Menuhin, Astor Piazzolla, Jean-Pierre Rampal, Manuel Rego, Ljerko Spiller, Vadin Repin, Karl Richter, Mstislav Rostropóvich, János Starker, Jean Ives Thibaudet, Jaime Torres, Maxim Vengeroff, y Frederica von Stade,.


Trayectoria: Desde sus comienzos la Camerata ha realizado más de 2500 conciertos y las 25 giras internacionales en su haber la han llevado a los escenarios más prestigiosos del mundo. En su historia ha realizado 31 grabaciones discográficas.

La Camerata Bariloche ha sido premiada con el "Premio Konex de Platino" al mejor conjunto de cámara en la historia de la música en Argentina.

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Delta Jazz Band - (lp) Bitrate: 224

01 - Dreaming the hours away
02 - Mobile stomp
03 - Black bottom stomp
04 - Weary Way blues
05 - Steamboat stomp
06 - Milemberg joys
07 - Canal street blues
08 - Potatoe head blues
09 - Stack O’ Lee blues
10 - Messing Around.

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En enero de 1968, y luego de la disolución de la Roseland Jazz Band, dos de sus integrantes, Rodolfo Yola y Fernando Peliche, reagrupan a algunos de sus miembros y con nuevas incorporaciones forman la DELTA JAZZ BAND, que debuta exitosamente el 5 de abril del mismo año en el Cine Teatro Arte de la Ciudad de Buenos Aires.

A partir de entonces fue acrecentando sus presentaciones y su nombre apareció en forma ininterrumpida en teatros, pubs, conciertos, medios radiales y televisivos de todo el país y el extranjero, efectuando además producciones discográficas para importantes compañías de nuestro medio.


Inspirada en las bandas tradicionales de Nueva Orleáns, la DELTA JAZZ BAND ha tratado de difundir en forma acentuada la manifestación de dicho estilo, y a travès de una trayectoria de 37 años de existencia ha logrado una forma de tocar que le ha valido el reconocimiento del público y prensa especializada.

Como consecuencia de ello ha sido invitada a participar en importantes festivales organizados en el pais y en el exterior, realizando tres giras a Europa, actuando en el Swinging Hannover de Alemania y en el Oude Stijl Jazz Festival en la ciudad de Breda (Holanda), realizando previamente una gira por Italia, actuando en las ciudades de Milan, Brescia y Roma, donde también realizaron una presentaciòn en la R.A.I. con transmisión simultánea a la ciudad de Nueva Orleáns, durante la primera gira.

En su segunda gira europea visitaron las localidades de Hannover, Minden, Dusseldorf, Bremen, Bonn, Munich y Colonia, en Alemania, y nuevamente actuaron en el Oude Stijl Jazz Festival (Holanda).

En su tercera gira por Europa actúan en Inglaterra en las siguientes localidades: Birmingham, Northampton, Einfield, Nottingham, Great Yarmouth, Farnham, Southport, Hilderstone, Keswick, Little Witley, Bristol y Salford. Como comentario de esta tercera gira cabe destacar que la DELTA se constituye en la primera orquesta de Jazz de Sudamérica que se presenta en Gran Bretaña. Luego realizan presentaciones en Alemania, actuando en Bremerhaven, Bremen, Hamburgo, Nüremberg, Dusseldorf, Colonia y Hannover. La gira culmina en el festival de Dem Bosch en Holanda.

También actuaron en la ciudad de Montevideo en el teatro Solìs y en los festivales nacionales de jazz tradicional en Santa Rosa, Mar del Plata, Mendoza, Cordoba, Rio IV, Bahia Blanca y Rosario.

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Johann Sebastian Bach: The Art Of Fugue - Amsterdam Bach Soloists - Bitrate: 192

01 Contrapunctus I
02 Contrapunctus II
03 Contrapunctus III
04 Contrapunctus IV
05 Canon alla Ottava
06 Contrapunctus V
07 Contrapunctus VI
08 Contrapunctus VII
09 Cannon alla Decima, Contrapunto alla Terza
10 Contrapunctus VIII
11 Id. (inversus)
12 Contrapunctus IX (rectus)
13 Id. (Inversus)
14 Contrapunctus X
15 Contrapunctus XI
16 Cannon alla Duodecima in Contrapunto alla Quinta
17 Contrapunctus XII
18 Contrapunctus XIII
19 Cannon per Augmentationem in Contrario Motu
20 Contrapunctus XIV
21 Choral 'Vor deinen Thron tret' ich hiemit'

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Johann Sebastian Bach

(born March 21, 1685, Eisenach, Thuringia, Ernestine Saxon Duchies — died July 28, 1750, Leipzig) German composer. Born to a musical family, he became a superbly well-rounded musician; from 1700 he held positions as singer, violinist, and organist. His first major appointment, in 1708, was as organist at the ducal court at Weimar. This was followed by a six-year stay (1717 – 23) as kapellmeister at the princely court of Köthen, which was in turn followed by his appointment as cantor at the great church of St. Thomas in Leipzig, where he would remain for the rest of his life. Imbued with the northern German contrapuntal style (see counterpoint) from early childhood, he encountered the lively Italian style, especially in the works of Antonio Vivaldi, about 1710, and much of his music embodies an immensely convincing melding of the two styles. At St. Thomas he wrote more than 200 church cantatas. His orchestral works include the six Brandenburg Concertos, four orchestral suites, and many harpsichord concertos, a genre he invented. His solo keyboard works include the great didactic set The Well-Tempered Clavier (1722 and 1742), the superb Goldberg Variations (1742), the massive but unfinished Art of the Fugue (1749), numerous suites, and many organ preludes and fugues. His surviving choral works include (in addition to the sacred cantatas) more than 30 secular cantatas, two monumental Passions, and the Mass in B Minor. His works, never widely known in his lifetime, went into near-total eclipse after his death, and only in the early 19th century were they revived, to enormous acclaim. He was perhaps the most accomplished organist and harpsichordist of his time. Today Bach is regarded as the greatest composer of the Baroque era, and, by many, as the greatest composer of all time.

http://www.answers.com/topic/johann-sebastian-bach

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The Cradle Of Jazz: 16 – Lu Watters - Bud Freeman – Jack Hits The Road - Bitrate: 192

CD 1: Lu Watters

01 Figety Feet

02 Figety Feet – Alternate

03 Milenberg Joys

04 High Society

05 High Society - Alternate

06 Hot House Rag

07 Come Back

08 Daddy Do

09 Daddy Do – Alternate

10 Tiger Rag

11 London Cafe Blues

12 London Cafe Blues - Alternate

13 Terrible Blues

14 Muskrat Ramble

15 Muskrat Ramble - Alternate

16 Temptation Rag

17 Sunset Cafe Stomp

18 Sunset Cafe Stomp - Alternate

19 Riverside Blues

20 Cake Walking Babies From Home

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CD 2: Bud Freeman

01 Sensation

02 Fidgety Feet

03 Tia Juana

04 Copenhagen

05 I've Found A New Baby

06 Easy To Get

07 China Boy

08 The Eel

09 Oh! Baby

10 I Need Some Pettin'

11 Susie

12 Big Boy

13 As Long As I Live

14 The Sail Fish

15 Sunday

16 Satanic Blues

17 Jack Hits The Road

18 Forty Seven And State

19 Muskrat Ramble

20 That Da-Da Strain

21 Shim-Me-Sha-Wabble

22 At The Jazz Band Ball

23 Prince Of Wails

24 After Awhile

25 Love Is Just Around The Corner

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Lawrence “Bud” Freeman (1906-1991)

Tenor saxophonist Bud Freeman was a member of a group of young White Chicago Jazz musicians known as the Austin High School Gang. This group consisted of Jimmy McPartland and his brother Dick McPartland, Frank Teschemacher, Eddie Condon, Dave Tough, Jim Lanigan and Joe Sullivan. He recorded with McKenzie-Condon Chicagoans in 1927 and then moved to New York with Ben Pollack. In New York he proved to be a sought after session musician and recorded with Bix Beiderbecke and his Orchestra, Hoagy Carmichael and his Orchestra and Joe Venuti's Blue Four, as well as working with various bandleaders including Red Nichols, the Roger Wolfe Kahn Orchestra and with Zez Confrey. In 1936 he played with Tommy Dorsey and he joined the Benny Goodman Orchestra in 1938, but left with in a year. During World War II he led a service band. After the war played regularly with Eddie Condon, as well as fronting his own bands and recording for the rest of his life.
(redhotjazz.com)


Lu Watters (1911 – 1989)
From Wikipedia, the free encyclopedia

Lucius "Lu" Watters (December 19, 1911 in Santa Cruz, California – November 5, 1989 in Santa Rosa, California) was a trumpeter and bandleader of the Yerba Buena Jazz Band in the "West Coast revival" of Dixieland music. This is relational to trad jazz as the musicians tended to be white and had little or no actual connections to New Orleans.
He played trumpet by the age of 11 and had his first work on a cruise ship. He then worked for Bob Crosby before deciding to form a Dixieland-style band. He founded the Yerba Buena Jazz Band in 1939 and it would be a leading force in the Dixieland revival for the next 11 years, with a small off-period caused by the war. In 1950 he broke up the band and in 1957 he retired from full-time playing.
In his life after music, he studied geology and lectured on the subject at Sonoma State University. His main area of interest was coastal earthquake conditions. He also became a chef.
In 1963 he made a bit of a return by playing with Turk Murphy at anti-nuclear rallies. He opposed building a nuclear plant on the San Andreas Fault. This related to his interest in geology and study of earthquakes. After this he returned to his life as a geologist and chef.

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The Best Of The Phenomenal Dukes Of Dixieland - (lp) - Bitrate: 320

1 - South Rampart Street Parade
2 - Wait Till The Sun Shines Nelli
3 - Georgia Camp Meeting
4 - Hot Time in the Old Town Tonig
5 - Dixie
6 - Muskrat Ramble
7 - When The Saints Go Marching In
8 - Bourbon Street Parade
9 - Eyes Of Texas
10 - South
11 - Down By The Riverside
12 - Bill Bailey

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P e r s o n n e l

Trumpet: Frank Assunto
Trombone: Freddie Assunto
Trombone: Papa Jac Assunto
Clarinet: Jack Maheu
Clarinet: Harold Cooper
Piano: Stanley Mendelson
Bass: Lowell Miller
Bass: Bill Porter
Tuba: Lowell Miller
Tuba: Bill Porter
Banjo: Papa Jac Assunto
Drums: Tommy Rundell
Drums: Paul Ferrara
Drums: Red Hawley
Vocals: Frank Assunto


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Billy Vaughn: Latinoamericano - (lp) - Bitrate 192

01 - La Paloma
02 - Tiempo Atras
03 - Para Vigo Me Voy
04 - Rosa Mexicana
05 - El Choclo
06 - La Golondrina
07 - Brasil
08 - Estrellita
09 - La Cumparsita
10 - Perfidia
11 - Quiereme Mucho
12 - El Manisero

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Biography
Billy Vaughn was one of the most popular orchestra leaders and pop music arrangers of the '50s and early '60s. In
fact, he had more pop hits than any other orchestra leader during the rock & roll era. Vaughn was also the musical director for many of the hitmakers on Dot Records, including Pat Boone, the Fontane Sisters, and Gale Storm. As a pop music arranger, his most distinctive feature was his clean, nonoffensive mainstream adaptations of rock & roll and R&B hits. Vaughn was also a recording artist, and he cut a number of albums of easy listening, instrumental music that were very popular throughout the '60s.

Vaughn began his professional music career in 1952, forming the vocal quartet the Hilltoppers with Don McGuire, Jimmy Sacca, and Seymour Speigelman. From 1952 to 1957, the Hilltoppers had numerous hit singles, beginning with Vaughn's song "Trying." He left the group in 1955 to join Dot Records as a musical director.
Vaughn was responsible for most of Dot's biggest hits of the '50s as he rearranged popular rock & roll and R&B songs for white, mainstream groups. His first success was with the Fontane Sisters, who sang with his orchestra on all their singles, including their 1954 breakthrough hit "Hearts of Stone." However, Dot's biggest success was Pat Boone, who had a series of hits with Vaughn's cleaned-up arrangements of rock & roll songs.
At the same time he was leading the vocal pop division of Dot, Billy Vaughn was recording his own instrumental records, which frequently were also covers of R&B and country songs. Beginning with 1954's "Melody of Love," Vaughn had a string of easy listening U.S. hit singles that ran for over a decade. He also recorded numerous hit albums, with 36 of his records entering the U.S. album charts between 1958 and 1970. Though he was the most successful orchestra leader of the rock & roll era, he wasn't able to sustain an audience in the late '60s. Vaughn released his last album in 1970 and quietly retired. ~ Stephen Thomas Erlewine, All Music Guide

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Edgard MacDowell: Piano Concertos 1 & 2 - Bitrate: 192

01 - Piano Concerto No 1 in A minor Op.15: Maestoso - Allegro con fuoco
02 - Piano Concerto No 1 in A minor Op.15: Andante tranquillo
03 - Piano Concerto No 1 in A minor Op.15: Presto
04 - Piano Concerto No.2 in D minor Op.23: Larghetto calmato - Poco piu mosso. e con passione
05 - Piano Concerto No.2 in D minor Op.23: Presto giocoso
06 - Piano Concerto No.2 in D minor Op.23: Largo - Molto allegro

Donna Amato, Piano
London Philharmonic Orchestra – Paul Freeman


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Edward MacDowell
From Wikipedia, the free encyclopedia

Edward MacDowell
Edward Alexander MacDowell (December 18, 1860 - January 23, 1908) was an American composer and pianist of the Romantic period. He was best known for his second piano concerto and his piano suites "Woodland Sketches", "Sea Pieces", and "New England Idylls". "Woodland Sketches" includes his most popular short piece, "To a Wild Rose". In 1904 he was one of the first seven Americans honored by membership in the American Academy of Arts and Letters.

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Santa Anita Ritmo en el Alma: Joyas del ‘40 (lp) - Bitrate: 192

01 - Chiribiribin
02 - El Baile De Los Negritos
03 - Corriendo Aprisa
04 - Quiero Ser Feliz
05 - Esto Basta
06 - Alégrate
07 - Amante
08 - Santa Anita Boogie
09 - Via Aerea Especial
10 - Vuelve el Charleston
11 - Carioca
13 - Bailando el Charleston
14 - Rosa Madreselva
14 - Ojos Negros

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SANTA ANITA, RITMO EN EL ALMA: Una de las orquestas de Jazz más famosas de los años 40 y 50, formada por Dante Leone (trompeta), Juan 'Chino' Ibarra (saxo alto y tenor), Isidro Rocha (clarinete), Quique Viola (guitarra), Enrique Lynch (piano), Mario Sansone (contrabajo) y Rudy Lane (batería y canto), la mayoría ex integrantes de Ahmed Ratip y sus Cotton Pickers. Entre sus integrantes estuvieron también "Pipi" Mariconda (trompeta, guitarra y canto), Bernardo Barbará (trompeta), Nestor Cori (saxo barítono y canto), Ruben Ochoa (saxo alto y clarinete), Lito Delgado (clarinete y saxo tenor), Enrique Varela (saxo tenor), Carmelo Nicotra (piano), Julio Derisi (contrabajo), Osvaldo López (batería) y los vocalistas Alberto Deval, Lila Kay, Bob Toledo, Biby e Hilda Brian. Además de sus grabaciones argentinas para el sello RCA hay registros realizados en Chile, Perú, Noruega, Colombia y otros países.

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Algo Para Recordar (An Affair To Remember) - lp - Bitrate: 192

01 - An Affair To Remember - Vic Damone - Percy Faith
02 - Around Te World In 80 Days - Ray Ellis
03 - It's Not For Me To Say - Johnny Mathis - Ray Conniff
04 - Fascination - Ray Ellis
05 - A Face In The Crowd - The Hi-Lo's
06 - War And Peace - Mitch Miller
07 - Manhattan - Smith And His Redheads
08 - Golden Arm - Les Elgart
09 - Some Day - Frankie Laine
10 - Cançao Do Mar - Lucio Milena
11 - Warm And Tender - Johnny Mathis - Ray Conniff
12 - Tammy - Ray Ellis
13 - Gunfight At The OK Corral - Frankie Laine - Jimmy Carroll
14 - Autumn Leaves - Mitch Miller


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Bedrich Smetana: My Country/Ma Vlast/Mi Patria - Bitrate: 192

Bedrich Smetana

01 - Má vlast-Vysehrad
02 - Má vlast-Vltava
03 - Má vlast-Sarka
04 - Má vlast-Z ceskych luhu a haju
05 - Má vlast-Tabor
06 - Má vlast-Blanik

Orquesta Sinfónica SWF, Baden Baden – Zdenek Macal

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Bedrich Smetana ; 2 March 1824 – 12 May 1884) was a Czech composer who pioneered the development of a musical style which became closely identified with his country's aspirations to independent statehood. He is thus widely regarded in his homeland as the father of Czech music. Internationally he is best known for his opera The Bartered Bride, and for the symphonic cycle Má vlast ("My Fatherland") which portrays the history, legends and landscape of the composer's native land.


This is at odds with perceptions in the outside world, where Dvorák is far more frequently played and much better known. Harold Schonberg observes that "Smetana was the one who founded Czech music, but Antonín Dvorák ... was the one who popularized it."
(From Wikipedia - More info inside file)

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The Cradle Of Jazz: 15 – Wild Bill Davison – Jabbo Simith – Take Me To The River - Bitrate: 192

CD 1: Wild Bill Davison

01 - At the Jazz Band Ball
02 - That's a Plenty
03 - Baby, Won't You Please Come Home
04 - Original Dixieland One Step
05 - Original Dixieland One Step
06 - Muskrat Ramble
07 - Riverboat Shuffle
08 - Clarinet Marmalade
09 - I Don't Stand a Ghost of a Chance With You
10 - A Monday Date
11 - Jazz Me Blues
12 - Little Girl
13 - Squeeze Me
14 - Squeeze Me
15 - I'm Confessin' That I Love You
16 - Big Butter and Egg Man
17 - I Wish I Could Shimmy Like My Sister Kate
18 - Who's Sorry Now?
19 - Someday Sweetheart
20 - On the Alamo
21 - Wrap Your Troubles in Dreams
22 - Wabash Blues
23 - I'm Coming Virginia
24 - Wabash Blues

CD 2: Jabbo Smith

01 - Jazz Battle
02 - Little Willie Blues
03 - Sleepy Time Blues
04 - Take Your Time
05 - Sweet and Low Blues
06 - Take Me to the River
07 - Ace of Rhythm
08 - Let's Get Together
09 - Sa-Sha Stomp
10 - Michigander Blues
11 - Decatur Street Tutti
12 - Till Times Get Better
13 - Lina Blues
14 - Weird and Blue
15 - Croonin' the Blues
16 - I Got the Stinger
17 - Boston Skuffle
18 - Tanguay Blues
19 - Band Box Stomp
20 - Moanful Blues
21 - Rhythm in Spain
22 - Absolutely
23 - More Rain, More Rest
24 - How Can Cupid Be So Stupid?

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download_D1_P2

download_D2_P1

download_D2_P2

Jabbo Smith had one of the oddest careers in jazz history. A brilliant trumpeter, Smith had accomplished virtually all of his most significant work by the time he turned 21, yet lived to be 82. He learned to play trumpet at the legendary Jenkins Orphanage in Charleston, and by the time he was 16, Smith showed great promise.

One of the great Dixieland trumpeters, Wild Bill Davison had a colorful and emotional style that ranged from sarcasm to sentimentality with plenty of growls and shakes. His unexpected placement of high notes was a highlight of his solos and his strong personality put him far ahead of the competition.
~ Scott Yanow, All Music Guide (More info inside File)

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Music For The Theater: Aaron Copland, George Gershwin, Jerome Kern, Kurt Weil

Jerome Kern

01 - Scenario For Orchestra -Themes from Showboat – Jerome Kern
02 - Our Town – Aaron Copland
03 - Porgy and Bess – George Gershwin

Utah Symphony Orchestra-Maurice Abravanel

04 - Threepenny Opera: Overture – Kurt Weil

Vienna State Opera Orchestra - Kurt Adler

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Jerome David Kern (January 27, 1885 – November 11, 1945) was an American composer of popular music. He wrote around 700 songs, including such classics as "Ol' Man River", "Can't Help Lovin' Dat Man", "A Fine Romance", "Smoke Gets in Your Eyes", "All the Things You Are", "The Way You Look Tonight", and "Who?", a 6-week number 1 hit for George Olsen & his Orchestra in 1925. His career spanned dozens of Broadway musicals and Hollywood films from 1902 until his death. Although Kern wrote almost exclusively for musical theatre and musical film, the harmonic richness of his compositions lends them well to the jazz idiom (which typically emphasizes improvisation based on a harmonic structure) and many Kern melodies have been adopted by jazz musicians to become standard tunes.

In 1927, Kern and Hammerstein wrote Show Boat, which musical theatre historian Miles Kreuger has hailed as "the greatest single step forward in American musical theatre, enabling composers, lyricists and librettists to introduce more mature subject matter into their shows." Based on the the novel of the same name by Edna Ferber, the sprawling work featured an unusually serious plot highlighting racism and miscegenation. The score is, arguably, Kern's greatest and includes the well-known songs "Ol' Man River" and "Can't Help Lovin' Dat Man" as well as "Make Believe", "You Are Love", "Life Upon the Wicked Stage", "Why Do I Love You", and "Bill". Although Ferber's novel was filmed unsuccessfully as a part-talkie in 1929 (using few songs from the Kern score), the musical itself was filmed twice, in 1936, and, with Technicolor, in 1951. Both the 1936 and 1951 films were box-office successes; the 1936 film was especially acclaimed by critics.

Several of the songs from Show Boat were arranged by Charles Miller into the orchestral work Scenario for Orchestra: Themes from Show Boat in 1941 and premiered by the Cleveland Orchestra conducted by Artur Rodziński, a unique honor for a Broadway musical.
(from Wikipedia)

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The Dukes Of Dixieland - Dixieland Sound (More Best of the Phenomenal Vol.2) Bitrate:256

(L-R) Freddie, Frank and Papa Jac Assunto.












01 - High Society
02 - Tromboneum
03 - Thunder and blazes
04 - Lassus trombone
05 - Maple leaf rag
06 - Washington Post
07 - Swanee river
08 - Dill pickles
09 - Ta-ra-ra boom-de-ay
10 - Slide, frog, slide
11 - Asleep in the deep
12 - With a pack on my back

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P e r s o n n e l

Trumpet: Frank Assunto
Trombone: Freddie Assunto
Trombone: Papa Jac Assunto
Clarinet: Harold Cooper
Clarinet: Jack Maheu
Clarinet: Jerry Fuller
Piano: Stanley Mendelson
Bass: Lowell Miller
Bass: Barney Mallon
Bass: Bill Porter
Tuba: Bill Porter
Tuba: Barney Mallon
Tuba: Lowell Miller
Banjo: Papa Jac Assunto
Drums: Red Hawley
Drums: Tommy Rundell
Drums: Paul Ferrara
Drums: Roger Johnson
Vocals: Frank Assunto



In 1956 Sidney Frey of Audio Fidelity Records was in Las Vegas looking for some unusual act he could feature on his label. Stereo records were coming and Frey was determined to beat the major labels to the market place with the first stereo records and he wanted to sign "someone" that would showcase the new style of recording. Audio Fidelity pioneered the commercial introduction of the "stereo" phonograph record utilizing the newly chosen standard, the Westrex 45/45 system . The story is that Frey asked a bartender if there were any unusual acts in town that he could listen to and maybe use to show off his "new" stereo records. The bartender reportedly steered Sidney to a nearby lounge/casino that had an act involving 3 pianos but when he got there the three pianos were gone and he heard the Dukes instead. He considered the wide range of instruments in the band to be a natural to show off "stereo". The Dukes signed an exclusive recording contract with Audio Fidelity Records in the mid-50's which would bring the first of a long series of recording innovations by the band. The DUKES OF DIXIELAND became the first jazz band to record in stereo. In anticipation of the of the coming "stereo" age some sessions were on 2 or 3 channel tape in a form that could go right to record; some sessions had to be redone for stereo.

www.thedukesofdixieland.com

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The Cradle Of Jazz: 14 - JC Higginbothan - Edmond Hall - Big City Blues - Bitrate: 192

CD 1 JC Higginbotham:

01 - Mahogany Hall Stomp
02 - It Should Be You
03 - Swing Out
04 - Feelin' the Spirit
05 - Jersey Lightning
06 - St. Louis Blues
07 - Doctor Blues
08 - Saratoga Shout
09 - Give Me Your Telephone Number
10 - Sugar Hill Function
11 - You Might Get Better, But You'll Never Get Well
12 - On Revival Day
13 - Muggin' Lightly
14 - Ease on Down
15 - Casa Loma Stomp
16 - Symphony in Riffs
17 - Roll Along, Prairie Moon
18 - That's How I Feel Today
19 - I Double Dare You
20 - Let That Be a Lesson to You
21 - When the Saints Go Marching In
22 - The Sheik of Araby

CD 2 Edmond Hall:

01 - Jamin' in Four
02 - Edmond Hall Blues
03 - Profoundly Blue No. 2
04 - Profoundly Blue No. 2
05 - Royal Garden Blues
06 - Blues at Blue Note
07 - High Society
08 - The Man I Love
09 - Rompin' in '44
10 - Seein' Red
11 - I've Found a New Baby
12 - It's Been So Long
13 - I Can't Believe That You're in Love With Me
14 - Big City Blues
15 - It's Only a Chanty in Old Chanty Town
16 - Walkin' the Dog
17 - Tishomingo Blues
18 - Caravan
19 - The Sheik of Araby


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Biographies:

J.C. Higginbotham
a.k.a. Jay C. Higginbotham


An extroverted trombonist with a sound of his own, J.C. Higginbotham was heard at his best during the late '20s and early '30s, when he was one of the stars with LUIS RUSSELL's orchestra. From that point on, he went gradually downhill due to being an alcoholic, but he had worthy moments along the way. He started his career playing in territory bands in the Midwest. Higginbotham was with Russell (1928-1931) for some classic recordings, including a few sessions backing Louis Armstrong, and two songs on which he fronted the orchestra under the title of "J.C. Higginbotham and His Six Hicks." Higginbotham was a featured soloist with the orchestras of Fletcher Henderson, Chick Webb, and Benny Carter during the next six years, before re-joining Russell's band when it was playing a purely supportive role behind Armstrong (1937-1940); he had a few solos on Satch's better records of the period. Having teamed up with Red Allen while with Luis Russell, Higginbotham happily joined Allen's hot jump band for a long stint (1940-1947). Higginbotham spent a few years in obscurity, led his own groups in the mid-'50s, and re-joined Allen for a residency at the Metropole that lasted until 1963. He led sessions for Sonet (1962) and Jazzology (1966), but continued his decline until his death. Scott Yanow

Edmond Hall

Instrument: Clarinet, Leader
Representative Albums: "Profoundly Blue," "Profoundly Blue," "Complete Edmond Hall/James P. Johnson/Sidney De Paris/Vic Dickenson Blue Note Sessions"
Representative Songs: "It's Been So Long," "Blues at Blue Note," "Rompin' in 44"
Biography
It took Edmond Hall a long period to develop his own musical individuality, but by the early '40s he had a very distinctive and dirty sound on the clarinet that was immediately recognizable within one note. One of four clarinet playing brothers (including Herbie Hall) who were the sons of early clarinetist Edward Hall, Edmond worked in many bands in New Orleans (including Buddy Petit's during 1921-1923) before going to New York in 1928 with Alonzo Ross. He was with Claude Hopkins' orchestra (1929-1935), doubling on baritone and only occasionally sounding like his future self on clarinet. Hall played with Lucky Millinder, Zutty Singleton, and Joe Sullivan, and had his style together by the time he joined Red Allen in 1940. He was with Teddy Wilson's sextet (1941-1944) and turned down an opportunity to be Barney Bigard's successor with Duke Ellington's Orchestra in 1942. In 1944, Hall began working with Eddie Condon (including appearances on his Town Hall Concert radio series), led his own group at Cafe Society, spent a few years based in Boston, and then during 1950-1955 was in the house band at Condon's club. Edmond Hall toured the world as a member of Louis Armstrong's All-Stars (1955-1958), worked in the 1960s now and then with Condon, and made his final recording (before his death from a heart attack) at John Hammond's 1967 Spirituals to Swing concert. He recorded as a leader for Blue Note (1941-1944), Commodore, Savoy, Storyville, United Artists, and some smaller labels. ~ Scott Yanow, All Music Guide

Gliere Conducts Gliere - Bitrate: 192

Ballet Suite No. 1 (Sheeps Spring) (1922)

Ballet Suite No. 2 Op. 65 No.1 (Khrizis) (1912)

01 - Suite 1- Dance Of The Bride
02 - Dance Of The Girlfriends
03 - Dance Of The Friends
04 - Dance Of The Juggler-Girl
05 - Dance Of The Moorish Girls
06 - Capriccio
07 - Lyric Scene No. 2
08 - Gypsy Dance
09 - Lyric Scene No. 1
10 - Suite 2 - Introduction
11 - Dreams
12 - Games
13 - At The Brook
14 - Round Dance
15 - Merry Dance
16 - Intermezzo
17 - Dance Of The Seven Flowers
18 - Slow Dance
19 - Dance Of Ectasy

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Reinhold Gliere was born in Kiev in 1875 and lived until 1956. He studied composition in Kiev and at the Moscow Conservatory, where he later taught. His students included Prokofiev, Miaskovsky, and Khachaturian. Gliere's musical life spanned the period from late Romanticism to Modernism, although his own music has more in common with the former. His best-known works are the ballets "The Red Poppy" and "The Bronze Horseman," although his Third Symphony titled "Ilya Murometz" is considered by many to be his greatest work. (http://www.balalaika.biz) Complete Bio Inside File


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Jo Basile: Acordeón de España – Bitrate: 256

01 - El Relicario
02 - La Maxixa
03 - En Er Mundo
04 - Mi Jaca
05 - España Cañi
06 - La Dolores
07 - Doce Cascabeles
08 - Lady Of Spain
09 - Pamplonica
10 - Rosa De Valencia
11 - España
12 - Rocio

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Audio Fidelity Records
From Wikipedia, the free encyclopedia

The small record company Audio Fidelity Records, in New York City, released the first commercially available stereophonic disk in November 1957. Sidney Frey (1920–1968), founder and president, had Westrex, owner of one of the two rival stereo disk-cutting systems, cut a stereo LP disk for release before any of the major record labels, several of which had the Westrex equipment but had not yet produced a stereo disk.....

Jo Basile:
(http://www.spaceagepop.com)


Jo Basile was the pseudonym of Joss Baselli, accordionist and veteran of the French music scene in the 1950s and 1960s....
In 1958, Patachou toured the U.S. and Baselli attracted the attention of Sid Frey, owner of the Audio Fidelity record label. Frey was about to release the first series of long-playing stereo records and was signing numerous international artists. Renaming him Jo Basile, Frey first recorded Baselli straight, playing instrumental versions of Patachou's hits and other French cafe tunes.
Then Baselli suggested he do some of the Italian songs he grew up playing in his parents' cafe, and the album, Rome with Love was released, with a cover featuring a sexy babe in Capri pants riding on the back of a Vespa. Whether the cover had anything to do with the success of the record, Frey figured it was a winning combination, and most of the two dozen albums Basselli recorded for Audio Fidelity over the next five years followed a standard formula.....

More Info Inside File

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Best Of Jimmie Rodgers - Bitrate:192

01 - Honeycomb
02 - Kisses Sweeter Than Wine
03 - Oh-Oh I'm Falling In Love Again
04 - Secretly
05 - Make Me A Miracle
06 - Are You Really Mine
07 - The Wizard
08 - Bimbombey
09 - Woman From Liberia
10 - Tucumcari
11 - Danny Boy
12 - It's Over


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Jimmie Rodgers (pop singer)
From Wikipedia, the free encyclopedia

Rodgers was taught music by his mother, learned to play the piano and guitar, and formed a band while he served in the United States Air Force. Like a number of other entertainers of the era, he was one of the contestants on Arthur Godfrey's talent show on the radio. When Hugo Peretti and Luigi Creatore left RCA Records to found a new record company, Roulette Records, they became aware of Rodgers' talent and signed him up.

In the summer of 1957, he recorded a song called "Honeycomb", which had been recorded by Bob Merrill and Georgie Shaw three years earlier. It was Rodgers' first big hit, staying on the top of the charts for four weeks. The following year, he had a number of other hits that reached the Top 10 on the charts: "Kisses Sweeter than Wine", "Oh-Oh, I'm Falling in Love Again", "Secretly", and "Are You Really Mine". Other hits include "Bo Diddley", "Bimbombey", "Ring-a-ling-a-lario", "Tucumcari," "Tender Love and Care (T.L.C)", and a version of Waltzing Matilda as a film tie-in with On the Beach. (More Info Inside File)


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The Cradle Of Jazz: 13 Kid Ory – Bix Beiderbecke – Jazz Lips - Bitrate: 192

CD 1: Kid Ory

01 - Ory's Creole Trombone
02 - Gut Bucket Blues
03 - Muskrats Rumble
04 - 29th And Dearborn
05 - Too Bad
06 - Dropping Shucks
07 - Gatemouth
08 - Papa Dip
09 - Flat Foot
10 - Mad Dog
11 - Dead Man Blues
12 - Jazz Lips
13 - Ory's Creole Trombone
14 - Once In A While
15 - South
16 - Blues For Jimmie

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CD 2: Bix Beiderbecke

1 - Fidgety Feet
2 - Copenhagen
3 - Tiger Rag
4 - Davenport Blues
5 - Trumbology
6 - Singin' The Blues
7 - Ostric Walk
8 - Riverboot Shuffle
9 - I'm Comin' Virginia
10 - Way Down Yonder In New Orleans
11 - For No Reason At All In "C"
12 - In A Mist (Bixology)
13 - Clementine (From "New Orleans")
14 - Jazz Me Blues
15 - At The Jazz Band Ball
16 - Royal Garden Blues
17 - Goose Pimples
18 - Sorry
19 - Thou Swell
20 - Ol' Man River
21 - Wa-Da-Da (Ev'ryBody's Doin't It Now )
22 - Lousiana
23 - Margie
24 - I'll Be A Friend With Pleasure
25 - Bessie Couldn't Help It

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Kid Ory was the greatest trombone player in the early years of Jazz. He originally played banjo, but then switched to trombone. Perhaps his banjo playing helped shape the "tailgate" style of playing he later developed on the trombone. In the "tailgate" style, the trombone plays a rhythmic line underneath the trumpets and cornets. From 1912 to 1919 he led one of the most popular bands in New Orleans. Ory's Band featured many of the great musicians who would go on to define the Hot Jazz style. At various times King Oliver, a young Louis Armstrong, Johnny Dodds, Sidney Bechet and Jimmie Noone all played in Ory's band. In 1919

Bix Beiderbecke was one of the great jazz musicians of the 1920's; he was also a child of the Jazz Age who drank himself to an early grave with illegal Prohibition liquor. His hard drinking and beautiful tone on the cornet made him a legend among musicians during his life. (www.redhotjazz.com). More info inside file.

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Break - Interrupción

"A Bit Of Classical And Some Swing" no tendrá actualizaciones hasta la primera semana de Julio.


"A Bit Of Classical And Some Swing" will be inactive until first week of July.


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The Cradle Of Jazz: 12 Bennie Moten – Henry “Red " Allen - Siesta At The Fiesta - Bitrate: 192

CD 1 – Bennie Moten

01 - New Moten Stomp
02 - Somebody Stole My Gal
03 - As Long as I Love You (Jeannette)
04 - Now That I Need You
05 - When I'm Alone
06 - Liza Lee
07 - Professor Hot Stuff
08 - The Count
09 - Get Goin' (Get Ready to Love)
10 - Bouncin' Round
11 - I Wanna Be Around My Baby All the Time
12 - Ya Got Love
13 - Toby
14 - Moten Swing
15 - The Blue Room
16 - Imagination
17 - New Orleans
18 - The Only Girl I Ever Loved
19 - Milenberg Joys
20 - Lafayette
21 - Prince of Wails
22 - Two Times

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Bennie Moten is today best-remembered as the leader of a band that partly became the nucleus of the original Count Basie Orchestra, but Moten deserves better. He was a fine ragtime-oriented pianist who led the top territory band of the 1920s, an orchestra that really set the standard for Kansas City jazz. In fact it was so dominant that Moten was able to swallow up some of his competitors' groups including Walter Page's Blue Devils, most of whom eventually became members of Moten's big band. (Scott Yanow, All Music Guide)

CD 2: Henry “Red” Allen

01 - King Porter Stomp
02 - Till The Clock Strikes Three
03 - You'll Never Go To Heaven
04 - Canal Street Blues
05 - Have You Ever Been In Heaven?
06 - The Miller's Daughter, Marianne
07 - The Merry-Go-Round Broke Down
08 - (Is It) Love Or Infatuation?
09 - I Owe You
10 - Can I Forget You?
11 - K.K. Boogie
12 - Shim Me Sha Wabble
13 - Jack The Bellboy
14 - Sometimes I'm Happy - Part 1
15 - Ol' Man River
16 - A Sheridan Square
17 - Siesta At The Fiesta
18 - Down In Jungle Town
19 - Indiana

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One of the last great New Orleans trumpeters to emerge during the post-Louis Armstrong era, Henry "Red" Allen has long been overshadowed by Satch and his successors but actually had a fresh new approach of his own to offer. Allen sounded modern no matter what the setting and the rhythmic freedom he achieved made his solos consistently unpredictable and exciting. (Scott Yanow, All Music Guide)

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Trini López: Vuelve a Cantar en Español–The Second Latin Album (lp) Bitrate: 224

01 - Tengo Nada
02 - Amor
03 - La Lluvia
04 - Sin Ti
05 - Aquella Rosa
06 - Trini Dice Te Amo
07 - Quiereme Mucho
08 - Amor Perdoname
09 - Solamente Una Vez
10 - Historia De Un Amor
11 - San Francisco de Asis
12 - Pancho Lopez


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Trini Lopez
From Wikipedia, the free encyclopedia

Trini Lopez (born Trinidad López III, 15 May 1937, Dallas, Texas) is a Mexican-American singer and guitarist.

Lopez made his name on the club circuit of the Southwestern United States before being 'discovered' in 1962 playing at the club PJ's in Hollywood, California, by record producer Don Costa. Costa was taken with Lopez's latinized versions of contemporary hits and signed him up to Frank Sinatra's record label, Reprise Records. His debut album, Trini Lopez Live at PJ's, was released in 1963. The album included a version of "If I Had a Hammer", which reached number one in 36 countries (No. 3 in the United States) and was a radio favorite for many years. He also performed his own version of the traditional Mexican song "La Bamba" on the album; his recording of the tune was later re-issued as a single in 1966.

Watch If I Had a Hammer on You Tube

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The Cradle Of Jazz: 11 Jimmie Noone - Moody Melody - Bitrate: 192

CD 1:

01 - San
02 - You Rascal, You
03 - So Sweet
04 - When You're Smiling
05 - I Lost My Gal from Memphis
06 - On Revival Day
07 - I'm Drifting Back to Dreamland
08 - Virginia Lee
09 - Bring It on Home to Grandma
10 - Three Little Words
11 - Little White Lies
12 - Trav' lin' All Alone
13 - It's You
14 - River, Stay 'Way from My Door
15 - When It's Sleepy Time Down South
16 - Dixie Lee
17 - A Porter's Love Song to a Chambermaid
18 - Inka Dinka Doo
19 - Delta Bound
20 - Like Me a Little Bit Less
21 - I's Do Anything for You

CD 2:

01 - Shine
02 - Liza
03 - Soon (There'll Just Be Two Of Us)
04 - Lullaby Of Broadway
05 - Lookie, Lookie, Lookie Here Comes Cookie
06 - It's Easy To Remember
07 - He's A Different Type Of Guy
08 - Way Down Yonder In New Orleans
09 - The Blues Jumped A Rabbit
10 - Sweet Georgia Brown
11 - Sweet Lorraine
12 - I Know That You Know
13 - Bump It (The Bumps)
14 - Four Or Five Times
15 - Hell In My Heart
16 - Call Me Darling, Call Me Sweetheart, Call Me Dear
17 - I'm Walkin' This Town
18 - Japansy
19 - New Orleans Hop Scop Blues
20 - Keystone Blues
21 - Moody Melody
22 - Then You're Drunk
23 - I'm Going Home
24 - They Got My Number Now

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Jimmie Noone is considered one of the best clarinetists of the Twenties. His style differs from the other two great New Orleans clarinet players, Johnny Dodds and Sidney Bechet because of his smoother, more romantic tone. Noone's style was a major influence on the Swing music of the Thirties and Forties. Growing up in New Orleans Jimmie took clarinet lessons from Lorenzo Tio Jr. and Sidney Bechet (Bechet was 13 years old at the time). Noone went on to play with Freddie Keppard in the Olympia Band. In 1917 he followed Freddie to Chicago to join Keppard's Original Creole Orchestra. After it broke up the following year he became a member of King Oliver's band. In 1920 he joined Doc Cook's Dreamland Orchestra and played with that band for the next six years. In 1927 Jimmie started leading a band at the Apex Club in Chicago. In 1928 he was joined by pianist Earl Hines and recorded for Vocalion. Noone worked steadily in Chicago throughout the Thirties. A young Joe Williams was in Noone's band in the late Thirties, but they never recorded together. Noone played with Kid Ory's band in California in the Forties when he suddenly died of a heart attack.
www.redhotjazz.com

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Tennesse Ernie Ford - Collectors - Bitrate: 192

01 - Tennessee Border
02 - Country Junction
03 - Smokey Mountain Boogie
04 - Mule Train
05 - Anticipation Blues
06 - Cry Of The Wild Goose
07 - I'll Never Be Free
08 - Ain't Nobody's Business But My Own
09 - Shot-Gun Boogie
10 - Tailor Made Woman
11 - I'm A Bad Man
12 - The Strange Little Girl
13 - Mister And Mississippi
14 - Kissin' Bug Boogie
15 - Blackberry Boogie
16 - Hog-Tied Over You
17 - I Don't Know
18 - Hey, Mr. Cotton Picker
19 - Celebratin'
20 - Catfish Boogie
21 - The Honeymoon's Over
22 - River Of Not Return
23 - The Ballad Of Davy Crockett
24 - His Hands
25 - Sixteen Tons
26 - Nine Pound Hammer
27 - That's All
28 - In The Middle Of An Island
29 - Hicktown

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The booming baritone voice of Tennessee Ernie Ford was best known for his 1955 cover of Merle Travis' grim coal-mining song "Sixteen Tons," watered down by the dulcet strains of a Hollywood studio orchestra but retaining its innate seriousness thanks to the sheer power of Ford's singing. But there was more to Tennessee Ernie Ford than that. Over his long career, Ford sang everything from proto-rock & roll to gospel, recorded over 100 albums, and earned numerous honors and awards, including the Presidential Medal of Freedom, the nation's highest civilian award. His popularity and recognition transcended country music, and he was among the earliest and most successful "crossover" artists to come out of country music, paving the way for such diverse popular culture figures as Johnny Cash, Dolly Parton, Willie Nelson, Waylon Jennings, Reba McEntire, and many more. ~ James Manheim & Bruce Eder, All Music Guide. Complete bio inside file.

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Leonard Bernstein - NYPO - Live Recordings - Bitrate: 192

1 - Wagner-Gotterdammerung-Down And Love Duet - Leonard Bernstein-NYPO-Eileen Farrell
2 - Schumann-Cello Concerto-1 Mov - Leonard Bernstein-NYPO-J. Du Pre
3 - Bruckner-Symph.6-3 mov - Leonard Bernstein-NYPO
4 - Shchedrin-Mischievous Folk Ditties - Leonard Bernstein-NYPO
5 - Russo-Symph. 3 --4 mov. - Leonard Bernstein-NYPO
6 - Prokofiev-Piano Con.2-2 mov - Leonard Bernstein-NYPO-Askenazy
7 - Hindemith-Mathis der Maler- 1 Mov - Leonard Bernstein-NYPO
8 - Mozart-Conc. Piano 23-2 mov - Leonard Bernstein-NYPO-Janis
9 - Ives-Symph. 2-5 mov. (world premiere) - Leonard Bernstein-NYPO



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Leonard Bernstein
by Marin Alsop

I will never forget going to a New York Philharmonic rehearsal when Leonard Bernstein was conducting Tchaikovsky's Fifth Symphony. I was imagining how many hundreds of times he must have conducted that symphony and wondering what kind of approach he would take.

The two hours that followed were an absolute revelation and offered me insight into and understanding of who Leonard Bernstein, the conductor, really was.

This was a man whose primary and all consuming commitment was to the creator, the composer. He was unrelenting in his dedication and doggedly devoted to uncovering the composer's true intent.

Link to www.leonardbernstein.com




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The Cradle Of Jazz: - 10 Sidney Bechet - Chant In The Night - Bitrate: 192

CD 1:

1 - I've Found a New Baby
2 - Sweetie Dear
3 - Shag
4 - Maple Leaf Rag
5 - Really the Blues
6 - Weary Blues
7 - Polka Dot Rag
8 - Tain't a Fit Night Out for Man or Beast
9 - Characteristic Blues
10 - Black Stick Blues
11 - When the Sun Sets Down South [Southern Sunset]
12 - Jungle Drums
13 - Chant in the Night
14 - Ja-Da
15 - When You and I Were Young
16 - Summertime
17 - Oh
18 - I Thought I Heard Buddy Bolden Say
19 - High Society
20 - Winin' Boy Blues


CD 2:

1 - Dear Old Southland
2 - China Boy
3 - Perdido Street Blues
4 - Down In Honky-Tonk Town
5 - Old Man Blues
6 - Shake It And Break It
7 - Wild Man Blues
8 - Blues In Third
9 - Ain't Misbehavin'
10 - Save It
11 - Stompy Jones
12 - Egyptian Fantasy
13 - Baby
14 - Slippin' And Slidin'
15 - I Ain't Gonna Give Nobody
16 - I Know That You Know
17 - You' re The Limit
18 - Strange Fruit
19 - I'm Coming Virginia
20 - Georgia Cabin
21 - Limehouse Blues
22 - Texas Moaner Blues

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Sidney Bechet was a child prodigy in New Orleans. He was such good clarinet player that, in his youth he was featured by some of the top bands in the city. Bechet's style of playing clarinet and soprano sax dominated many of the bands that he was in. He played lead parts that were usually reserved for trumpets and was a master of improvisation. (http://www.redhotjazz.com) More info inside file.

Con esta entrada llegamos a la mitad de la serie completa "The Cradle Of Jazz". Segiremos postenado las demás ediciones.

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Bing Crosby & Friends - Bitrate: 192

01 - Gone Fishing _ Bing Crosby-Louis Armstrong
02 - A Couple Of Song And Dance Men _ Bing Crosby-Fred Astaire
03 - Swinging On A Star _ Bing Crosby
04 - Pennies From Heaven _ Bing Crosby
05 - Zing A Little Zong _ Bing Crosby-Jane Wyman
06 - You Are My Sunshine _ Bing Crosby
07 - Moonlight Bay _ Bing Crosby-Gary Crosby
08 - In The Cool, Cool, Cool Of Evening _ Bing Crosby
09 - Where The Blue Of The Night Meets The Gold Of The Day _ Bing Crosby
10 - Anything You Can Do _ Bing Crosby-Dick Haymes-The Andrews Sisters
11 - White Christmas _ Bing Crosby
12 - The Road To Bali _ Bing Crosby-Bob Hope
13 - The Spaniard That Blighted My Life _ Bing Crosby-Al Jolson
14 - The Whiffenpoof Song _ Bing Crosby
15 - Life Is So Peculiar _ Bing Crosby-The Andrews Sisters
16 - Macnamara's Band _ Bing Crosby-The Jesters
17 - Too Ra Loo Ra Loo Ra _ Bing Crosby
18 - The Moon Came Up With A Great Idea _ Bing Crosby-Peggy Lee
19 - Mr. Gallagher And Mr. Shean _ Bing Crosby-Johnny Mercer
20 - Connecticut _ Bing Crosby-Judy Garland


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