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| It's a Wonderful World (3CD) |
| Les Brown |
| első megjelenés éve: 2003 |
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| (2003)
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3 x CD |
| 12.081 Ft
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| 1. CD tartalma: |
| 1. | Undecided
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| 2. | It's a Wonderful World
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| 3. | Begin the Beguine
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| 4. | A Night in Tunisia
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| 5. | So Rare
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| 6. | Woodchopper's Ball
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| 7. | Caravan
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| 8. | A String of Pearls
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| 9. | April in Paris
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| 10. | And the Angels Sing
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| 11. | Marie
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| 12. | Got a Date With an Angel
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| 13. | This Could Be the Start of Something
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| 14. | Patricia
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| 15. | The Man With the Golden Arm
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| 16. | Unchained Melody
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| 17. | Stompin' at the Savoy
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| 18. | Lisbon Antigua
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| 19. | Peter Gunn
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| 20. | One O'Clock Jump
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| 21. | Man With a Horn
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| 22. | Calcutta
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| 23. | Music Makers
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| 24. | The Song from Moulin Rouge (Where Is Your Heart?)
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| 25. | Tea for Two Cha Cha
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| 26. | Little Brown Jug
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| 2. CD tartalma: |
| 1. | I Could Have Danced All Night
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| 2. | Thank Heaven for Little Girls
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| 3. | Camelot [From Camelot]
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| 4. | I've Grown Accustomed to Her Face
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| 5. | If Ever I Would Leave You
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| 6. | Get Me to the Church on Time
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| 7. | Almst Like Being in Love
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| 8. | On the Street Where You Live
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| 9. | Gigi [From Gigi]
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| 10. | Follow Me
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| 11. | I Loved You Once in Silence
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| 12. | I'm Glad I'm Not Young Anymore
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| 13. | I Could Write a Book
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| 14. | I Didn't Know What Time It Was
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| 15. | My Funny Valentine
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| 16. | I Married an Angel
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| 17. | The Sound of Music
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| 18. | Have You Met Miss Jones?
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| 19. | Spring Is Here
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| 20. | People Will Say We're in Love
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| 21. | Little Girl Blue
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| 22. | My Romance
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| 23. | The Sweetest Sounds
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| 24. | The Lady Is a Tramp
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| 3. CD tartalma: |
| 1. | Evening Star (Theme Song)
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| 2. | That Sold Out Man (Is Here Again)
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| 3. | Taking a Chance on Love
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| 4. | Show Me the Way to Go Home
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| 5. | It Couldn't Be True! (Or Could It?)
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| 6. | Carioca
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| 7. | Peter Is a Wolf
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| 8. | In My Merry Oldsmobile
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| 9. | I Guess I'll Have to Dream the Rest
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| 10. | Lover's Leap
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| 11. | Love Is So Terrific (Ouch! Terrific Thing!)
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| 12. | Blue Danube
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| 13. | Years and Years Ago
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| 14. | Everybody's Making Money But Tchaikovsky
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| 15. | Sophisticated Swing
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| 16. | Put Something in the Pot, Boy!
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| 17. | It Isn't Fair
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| 18. | Jumpy Stumpy
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| 19. | Turkey Hop
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| 20. | Sunday
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| 21. | I Got It Bad (And That Ain't Good)
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| 22. | Columbia, The Gem of the Ocean
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| 23. | Fine Thing
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| 24. | Slaughter on Tenth Avenue
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Jazz / Swing; Traditional Pop; Sweet Bands
Recoded: Jul 1, 1941-Apr 12, 1962
"John" Johnny Newsome Sax (Tenor)
Abe Aaron Sax (Soprano), Sax (Tenor)
Al Fichera Liner Notes
Alexander Neiman Viola
Alvin Aaron Saxophone
Amerigo Marino Violin
Betty Jane Bonney Vocals
Bill Mattson Trumpet
Billy Butterfield Trumpet
Billy Usselton Soloist, Sax (Tenor)
Bob Clark Trumpet
Bob Neel Drums
Butch Stone Vocals, Sax (Baritone)
Chris Clark Bass
Clinton McMahan Trumpet
Clyde Brown Trombone
Dan Rivard Compilation Producer
Darrel Terwilliger Violin
Dick Collins Trumpet, Soloist
Dick Kennedy Soloist, Trombone
Don Bagley Bass
Donn Trenner Soloist, Piano
Edward Kleban Liner Notes
Eileen Wilson Vocals
Eleanor Slatkin Cello
Felix Slatkin Violin
Floyd Haller Saxophone
Four Hits & A Miss Vocals
Frank Comstock Arranger
Frank Emilio Flynn Percussion
Frank Huggins Trumpet
Frank Perry Sax (Alto)
Fred Haller Sax (Alto), Flute
Gene Estes Boobams, Bongos, Vibraphone, Percussion, Marimba
Gerald Vinci Violin
Herb Ellis Guitar
Howard Roberts Guitar
Hubert Anderson Percussion
Irving Townsend Liner Notes, Producer
Jack Haskell Vocals
Jacques Gasselin Violin
James Getzoff Violin
James Hill Trombone
Jerry Kadowitz Trumpet
Jesse Ehrlich Cello
Joe Cadena Trombone
John Audino Trumpet
John de Voodgt Violin
John Macek A&R
John Wanner Trombone
Jules Bertaux Bass
Ken Robertson Digital Restoration
Leobardo O. Acosta Timbales
Lou Klass Violin
Matt Utal Saxophone
Mickey McMahon Trumpet
Misha Russel Violin
Ollie Mitchell Trumpet
Pat Flaherty Vocals
Phil Stephens Tuba
Ralph LaPolla Saxophone
Ralph Young Vocals
Ray Kelloff Vocals
Roy Linn Trumpet
Roy Main Trombone
Stanley Harris Viola
Stumpy Brown Tuba, Trombone, Trombone (Bass)
Terry Trotter Celeste, Piano
Tony Rizzi Guitar
Uan Rasey Trumpet
IT'S A WONDERFUL WORLD contains:
* BANDLAND (1961) CD1 tracks 1-12,
* REVOLUTION IN SOUND (1962) CD1 tracks 13-26,
* THE LERNER & LOWE BANDBOOK (1960) CD2 tracks 1-12,
* THE RICHARD RODGERS BANDBOOK (1962) CD2 tracks 13-24,
* THE BEST OF THE RARE LES BROWN & HIS ORCHESTRA (2002) CD3.
For nearly sixty years Les Brown was the leader of a first-class Jazz-oriented dance band. Starting in 1947 Les Brown toured the world with Bob Hope. This three CD compilation includes many hard-to-find recordings from the vaults of Columbia Records. Highlights includes 'Taking A Chance On Love,' 'Show Me The Way To Go Home' and 'Undecided'. Collectables. Standard jewelcases housed in a slipcase. 2003.
Collectables' three-disc package It's a Wonderful World features five of clarinetist/bandleader Les Brown's albums. Included here are Brown's The Lerner and Loewe Bandbook, The Richard Rodgers Bandbook, Bandland: Great Songs of Great Bands, Revolution in Sound, and The Best of the Rare Les Brown and His Orchestra. The four full albums are representative of his early-'60s big-band charts, which harked back to his popular '40s dance-band sound while updating it for the hi-fi lounge era. However, this best-of disc features rare tracks recorded from 1941 to 1950 and showcases Brown at the height of his career popularity and creativity. This is a quirky mix of the essential and the oddball, but most Brown fanatics should find this package hard to resist.~ Matt Collar, All Music Guide
Les Brown
Active Decades: '30s, '40s, '50s and '60s
Born: Mar 14, 1912 in Reinerton, PA
Died: Jan 04, 2001 in Pacific Palisades, CA
Genre: Jazz
Styles: Big Band, Swing, Traditional Pop, Sweet Bands
The leader of a first-class jazz-oriented dance band for over 60 years, Les Brown's music was never innovative but was generally quite pleasing. Brown was born in Reinerton, PA, into the family of a baker. He got started in music early, taking up the saxophone at age seven with the strong encouragement of his father, who played the trombone. He knew how to sight-read before he was ten, and was playing alongside his father by that time at local dances. Brown left high school after one year, choosing instead to attend the Ithaca Conservatory of Music, where he studied theory, harmony, and composition. He passed through the New York Military Academy before landing at Duke University, where he joined the Duke Blue Devils, the university's official dance band, in 1935. Their sound was modeled after the Casa Loma Orchestra, which was then one of the most popular dance bands in the country, especially among college audiences.
Brown made his first recordings as a member of the Blue Devils in 1936 for Decca, but by the following year they'd split up, as the members who were still undergraduates returned to school. Brown went to New York and spent a year working for Jimmy Dorsey, Isham Jones, and Larry Clinton as an arranger. His chance at forming a new band came in 1938 when an executive at RCA arranged a booking for him at the Hotel Edison in Manhattan, if he could put a group together. Brown secured a loan from his father to get the band off the ground and he soon had a 12-piece outfit playing at the hotel. A series of regular live radio broadcasts of the band soon had their reputation spreading far beyond the ranks of the hotel's dance patrons, and RCA Victor quickly signed them to its Bluebird imprint.
The group was doing well as the 1930s closed out, drawing a healthy dance audience and a substantial listenership. Their records weren't the most ambitious in the world -- mostly covers of standards and other bands' hits, interspersed with an occasional Les Brown original -- but they sold well enough to keep the recording industry interested in them. In the late '30s, most of their sound was built on ensemble playing, and they displayed a rich, full tone that came off well, both in person and over the air as well as on record. Brown insisted on a polished, precise sound and audiences seemed to devour it. But starting in 1940, he began altering their sound by allowing room for his soloists to go to work doing that they did best, and audiences liked it even better. Then he hired his first vocalist, a teenager named Doris Day, who sang with a depth and level of sophistication far beyond her 17 years, and their popularity soared. Day's first stay with the group wasn't long -- less than a year -- before she left to get married. Her replacement, Betty Bonney, was aboard when the band cut a song devoted to the then-current phenomenon of Joe DiMaggio's hitting streak -- "Joltin' Joe DiMaggio" became their first chart hit. When the smoke cleared, the band found itself ranked among the top ten most popular performing outfits in the country.
It was a radio show, Spotlight Band, that inadvertently played a big role in their subsequent history. The Les Brown band appeared regularly on the program, which went to service audiences around the country (and made them permanent favorites of millions of men in uniform). But it was a chance moment in 1942, when an announcer referred to them as "Les Brown & His Band of Renown," that proved a key to their future. The reference sounded great, and it stuck, and it became the band's permanent name. They came to occupy a peculiar niche in the musical world as it existed in those years -- although it wasn't really a jazz band, Brown's group employed enough elements of jazz, and enough high-quality soloists (and Brown seldom featured himself in the latter capacity, though he was a good player), that they were treated with a great deal of respect by jazz players and in the jazz journals of the period.
The next pivotal moment came in 1943 when Brown persuaded Doris Day, now divorced and raising a son (actually, future producer Terry Melcher), to return to the band. The result, in 1944, was one of the most enduring hits of World War II, "Sentimental Journey." It not only became one of the defining hits of the big-band era, but also Brown's signature tune (and, to a lesser degree, Day's signature tune) for the next 50 years, and even in the 21st century is totally identified with both of them. The song was written by Ben Homer, a composer and arranger who was also responsible for the various dance adaptations of classical works that Brown's band recorded. Brown spent most of the 1940s signed to Columbia Records, which was also the home of Doris Day as a solo act. Brown's career momentum was slowed only when the Second World War drew to a close, and he decided to spend more time with his wife and family, which meant giving up touring -- he'd had some excellent soloists in his band, including Abe Most and Ted Nash, but they soon began drifting away to other work once Brown settled down in Los Angeles.
In early 1947, Brown took on an extended engagement at the Hollywood Bowl, which resulted in his reactivating the band in a new incarnation, made up of freelancers -- he also discovered that there were enough truly high-caliber examples of the latter that the music didn't suffer at all. As a result of that engagement, he also picked up what proved to be the longest running gig of his career when he started working with Bob Hope. The association with Hope -- which resulted in Brown touring for many years in tandem with the legendary comedian's performances on behalf of American servicemen -- made it possible for the orchestra to stay together for many decades. The Dave Pell Octet, which was quite popular in the mid-'50s, was comprised of some of Brown's sidemen. In the late '50s, Brown became one of the founding members of the Recording Academy. Brown was signed to Capitol Records during this same period and enjoyed a fresh string of hit singles and successful LPs through the end of the decade -- such was his reputation that he was easily able to recruit top players (such a reedman Billy Usselton) for those later bands, and those Capitol recordings have found an enduring audience much as his earlier Columbia sides did. Additionally, his work with Hope helped to keep his name alive for several generations of television viewers, among others, well into the 1980s. Brown also occasionally toured throughout the last decades of his life, even performing within a year of his death on January 4, 2001, at the age of 88. His son, Les Brown, Jr., a musician who was primarily known as an actor, took over the Band of Renown during the 21st century and has kept it going since.
---Scott Yanow & Bruce Eder, All Music Guide |
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