Time: 49:49
Size: 114.1 MB
Styles: Show tunes, Easy Listening
Year: 1960/1994
Art: Front
[1:51] 1. Look For The Silver Lining
[2:04] 2. Yesterdays
[1:48] 3. Why Do I Love You
[2:17] 4. Who
[2:02] 5. All The Things You Are
[2:12] 6. They Didn't Believe Me
[2:13] 7. The Way You Look Tonight
[2:53] 8. Smoke Gets In Your Eyes
[1:56] 9. She Didn't Say Yes
[2:11] 10. Make Believe
[2:12] 11. Last Time I Saw Paris
[1:56] 12. Ol' Man River
[2:54] 13. The Best Thing For You
[2:06] 14. Always
[2:24] 15. Marie
[3:16] 16. Cheek To Cheek
[1:39] 17. Easter Parade
[1:31] 18. Let's Take An Old Fashioned Walk
[2:37] 19. Remember
[3:03] 20. Change Partners
[2:31] 21. Let's Face The Music And Dance
[2:02] 22. They Say It's Wonderful
Tracks 1-12: Music of Jerome Kern conducted by Hal Mooney. Tracks 13-22: Music of Irving Berlin conducted by Gabriele Bellini.
Heritage of Broadway, Vol. 1 collects show tunes written by Irving Berlin and Jerome Kern, including classics like Kern's "Look for the Silver Lining," "Smoke Gets in Your Eyes," and "The Way You Look Tonight," and Berlin's "Cheek to Cheek," "Let's Face the Music and Dance," and "Easter Parade." ~Heather Phares
Gabriele Bellini studied at the Conservatory in his native Veneto and in Milan, with composition under Luigi Coltro, Bruno Maderna and Franco Donatoni and conducting under Franco Ferrara, Hermann Scherchen, Sergiu Celibidache and Hans Swarowsky. He worked for many years with Claudio Abbado at La Scala in Milan and was later artistic director of the Connecticut Grand Opera in Stamford. He has served as guest conductor in opera and in concerts in major European centres, with works such as L’elisir d’amore, Così fan tutte, Le nozze di Figaro, Tosca, Rigoletto, La Bohème, Falstaff and Macbeth. In Wildbad he has conducted several first performances, including Rossini’s Pezzi sacri lughesi and Mayr’s L’accademia di musica. Further evidence of his achievement has been in television and in the recording studio.
Hal Mooney was one of what Billy May called the "nuts and bolts" arrangers, producing professional, sometimes imaginative, sometimes predictable recordings. Although Mooney studied and played the piano while growing up, his real interest was in composing. He studied composition with New York University professor Orville Mayhood and, later, the renown Joseph Schillinger, whose method of composition influenced countless American musicians. His first professional gigs, though, were as a pianist. Bandleader Hal Kemp first spotted Mooney's talent with the pen, and Mooney, Lou Busch, and John Scott Trotter became the core of Kemp's arranging team. He switched bands, joining Jimmy Dorsey's orchestra just before the start of World War Two, but had to put his civilian career on hold to serve in the U.S. Army. After the war, he settled in Hollywood, where he managed to make his way as a free-lancer at a time when most musicians were tied to studio contracts.
Mooney's arrangements never garnered the kind of attention Nelson Riddle's did, but they were good enough in the eyes of the record companies. In the twenty-plus years before he joined the staff of Universal Studios, he arranged and conducted ensembles behind most of the big-name singers of the time: Bing Crosby, Frank Sinatra, Judy Garland, Peggy Lee, Patti Page, Kay Starr, Billy Eckstine, and many others.
Heritage of Broadway, Vol. 1 collects show tunes written by Irving Berlin and Jerome Kern, including classics like Kern's "Look for the Silver Lining," "Smoke Gets in Your Eyes," and "The Way You Look Tonight," and Berlin's "Cheek to Cheek," "Let's Face the Music and Dance," and "Easter Parade." ~Heather Phares
Gabriele Bellini studied at the Conservatory in his native Veneto and in Milan, with composition under Luigi Coltro, Bruno Maderna and Franco Donatoni and conducting under Franco Ferrara, Hermann Scherchen, Sergiu Celibidache and Hans Swarowsky. He worked for many years with Claudio Abbado at La Scala in Milan and was later artistic director of the Connecticut Grand Opera in Stamford. He has served as guest conductor in opera and in concerts in major European centres, with works such as L’elisir d’amore, Così fan tutte, Le nozze di Figaro, Tosca, Rigoletto, La Bohème, Falstaff and Macbeth. In Wildbad he has conducted several first performances, including Rossini’s Pezzi sacri lughesi and Mayr’s L’accademia di musica. Further evidence of his achievement has been in television and in the recording studio.
Hal Mooney was one of what Billy May called the "nuts and bolts" arrangers, producing professional, sometimes imaginative, sometimes predictable recordings. Although Mooney studied and played the piano while growing up, his real interest was in composing. He studied composition with New York University professor Orville Mayhood and, later, the renown Joseph Schillinger, whose method of composition influenced countless American musicians. His first professional gigs, though, were as a pianist. Bandleader Hal Kemp first spotted Mooney's talent with the pen, and Mooney, Lou Busch, and John Scott Trotter became the core of Kemp's arranging team. He switched bands, joining Jimmy Dorsey's orchestra just before the start of World War Two, but had to put his civilian career on hold to serve in the U.S. Army. After the war, he settled in Hollywood, where he managed to make his way as a free-lancer at a time when most musicians were tied to studio contracts.
Mooney's arrangements never garnered the kind of attention Nelson Riddle's did, but they were good enough in the eyes of the record companies. In the twenty-plus years before he joined the staff of Universal Studios, he arranged and conducted ensembles behind most of the big-name singers of the time: Bing Crosby, Frank Sinatra, Judy Garland, Peggy Lee, Patti Page, Kay Starr, Billy Eckstine, and many others.
The Heritage Of Broadway Vol 1
