IS THAT ALL THERE IS?
PEGGY LEE
SONGWRITERS: JERRY LEIBER & MIKE STOLLER
COUNTRY: U. S. A.
ALBUM: IS THAT ALL THERE IS?
LABEL: CAPITOL RECORDS
GENRE: VOCAL JAZZ
YEAR: 1969

Is That All There Is? is a 1969 studio album by Peggy Lee, featuring arrangements by Randy Newman. The eponymous title track won Lee the Grammy Award for Best Contemporary Vocal Performance, Female at the 12th Grammy Awards.
Norma Deloris Egstrom (May 26, 1920 – January 21, 2002), known professionally as Peggy Lee, was an American jazz and popular music singer, songwriter, composer, and actress, over a career spanning six decades. From her beginning as a vocalist on local radio to singing with Benny Goodman's big band, Lee created a sophisticated persona, writing music for films, acting, and recording conceptual record albums combining poetry and music.
Lee was born Norma Deloris Egstrom in Jamestown, North Dakota, on May 26, 1920, the seventh of the eight children of Selma Amelia (née Anderson) Egstrom and Marvin Olof Egstrom, a station agent for the Midland Continental Railroad. Her family and she were Lutherans. Her father was Swedish-American and her mother was Norwegian-American. After her mother died when Lee was four, her father married Minnie Schaumberg Wiese.
Lee first sang professionally over KOVC radio in Valley City, North Dakota. She later had her own series on a radio show sponsored by a local restaurant that paid her salary in food. Both during and after her high-school years, Lee sang for small sums on local radio stations.
Radio personality Ken Kennedy, of WDAY in Fargo (the most widely heard station in North Dakota), changed her name to Peggy Lee. Lee left home and traveled to Los Angeles at the age of 17.
She returned to North Dakota for a tonsillectomy, and was later noticed by hotel owner Frank Bering while working at the Doll House in Palm Springs, California. Here, she developed her trademark sultry purr, having decided to compete with the noisy crowd with subtlety rather than volume. Bering offered her a gig at the Buttery Room, a nightclub in the Ambassador Hotel East in Chicago. There, she was noticed by bandleader Benny Goodman. According to Lee, "Benny's then-fiancée, Lady Alice Duckworth, came into the Buttery, and she was very impressed. So the next evening, she brought Benny in, because they were looking for a replacement for Helen Forrest. And although I didn't know, I was it. He was looking at me strangely, I thought, but it was just his preoccupied way of looking. I thought that he didn't like me at first, but it just was that he was preoccupied with what he was hearing." She joined his band in 1941 and stayed for two years.
I remember when I was a very little girl, our house caught on fire
I'll never forget the look on my father's face as he gathered me up
In his arms and raced through the burning building out to the pavement
I stood there shivering in my pajamas and watched the whole world go up in flames
And when it was all over I said to myself: Is that all there is to a fire?

Is that all there is, is that all there is
If that's all there is my friends, then let's keep dancing
Let's break out the booze and have a ball
If that's all there is

And when I was 12 years old, my father took me to the circus, the greatest show on Earth
There were clowns and elephants and dancing bears
And a beautiful lady in pink tights flew high above our heads
And as I sat there watching the marvelous spectacle
I had the feeling that something was missing
I don't know what, but when it was over
I said to myself: Is that all there is to a circus?

Is that all there is, is that all there is
If that's all there is my friends, then let's keep dancing
Let's break out the booze and have a ball
If that's all there is

Then I fell in love, with the most wonderful boy in the world
We would take long walks by the river or just sit for hours gazing into each other's eyes
We were so very much in love
Then one day, he went away. And I thought I'd die, but I didn't
And when I didn't I said to myself: Is that all there is to love?

Is that all there is, is that all there is
If that's all there is my friends, then let's keep dancing

I know what you must be saying to yourselves
If that's the way she feels about it why doesn't she just end it all?
Oh, no, not me! I'm in no hurry for that final disappointment
For I know just as well as I'm standing here talking to you
When that final moment comes and I'm breathing my lst breath, I'll be saying to myself

Is that all there is, is that all there is
If that's all there is my friends, then let's keep dancing
Let's break out the booze and have a ball
If that's all there is.
A FINE ROMANCE

 ELLA FITZGERALD & LOUIS ARMSTRONG
SONGWRITERS: DOROTHY FIELDS & JEROME KERN
COUNTRY: U. S. A.
ALBUM: ELLA AND LOUIS AGAIN
LABEL: FINESTAR RECORDS
GENRE: JAZZ
YEAR: 1957

The evening before recording this album, on 16 August 1956, both Louis Armstrong and Ella Fitzgerald appeared in an all-star concert that also featured Art Tatum and Oscar Peterson, which was recorded for an album entitled Live At The Hollywood Bowl.
The following day, the two singers, along with the Oscar Peterson Trio – Oscar on piano, with Herb Ellis (guitar), Ray Brown (bass) and Buddy Rich (drums) – were in a Los Angeles studio to record this gem of an album, which became Ella And Louis. With no time for rehearsals, the songs were all set in each singer’s key to make it easier, but this in no way affects the seamless brilliance of the performances.
Another challenge for “Pops” was the fact that the material was not his normal repertoire, meaning he had to learn things on the fly in the studio. Again, there’s no hint of any issues, which all goes to highlight Armstrong’s innate musical ability.
The warmth of their Ella and Louis’ vocals is a joy to behold, as you can hear on ‘Cheek To Cheek’, ‘Moonlight In Vermont’ and ‘The Nearness Of You’. At the end of the year, Ella And Louis was at Nº.1 on the Billboard Jazz Best Seller list as well as making Nº.12 on the mainstream chart.
The collaborations between Ella Fitzgerald and Louis Armstrong have attracted much attention over the years. The artists were both widely known icons not just in the areas of big band, jazz, and swing music but across 20th century popular music in general. The two African-American musicians produced three official releases together in Ella and Louis (1956), Ella and Louis Again (1957), and Porgy and Bess (1959). Each release earned both commercial and critical success. As well, tracks related to those albums have also appeared in various forms in multi-artist collections and other such records.
In terms of touring performances, Fitzgerald once again teamed up with Armstrong, after the success of their first album, to hold a series of concerts at the Hollywood Bowl. The duo's music proved popular with the live audiences. Two live tracks from those 1956 concerts would end up being released as album bonus material in the 1990s.
Ella Fitzgerald (April 25, 1917 – June 15, 1996) was an African-American jazz vocalist often referred to by honorific nicknames such as the "First Lady of Song" and the "Queen of Jazz". "Lady Ella" attracted notoriety for her purity of tone, impeccable diction, lyrical phrasing, and vocal intonation; her instrument-like improvisational ability with her voice, particularly in her scat singing, proved popular with many audiences. In the 1950s, the depth and scope of her many releases had already attracted major attention. Many critics of the time regarded her as one of the best female vocalists still making music.
Louis Armstrong (August 4, 1901 – July 6, 1971) was an African-American jazz singer and trumpeter as well as composer who ended up being one of the most pivotal and influential figures in not just jazz-related styles but across popular music. His career spanned five decades, from the 1920s to the 1960s, and different eras both musically and also in terms of U.S. culture. Coming to prominence first as an inventive player, Armstrong attracted notice for shifting the focus in his records from collective improvisations to turn-by-turn solo performances. Like Fitzgerald, Armstrong picked up popular nicknames, in his case "Pops" and "Satchmo", that stuck, and critics praised him by the 1950s as a sort of elder statesmen of popular music.
Fitzgerald appeared in many duets in the Forties, appearing on recordings with, among others, The Ink Spots, Louis Jordan and Louis Armstrong as well as a host of instrumentalists from the Jazz At The Philharmonic troupe. The idea of entire duet album came about from Verve's Norman Granz who had the idea to pair Fitzgerald and Armstrong. Granz also persuaded Armstrong to forsake his own trad jazz group and embrace the modern sound of Oscar Peterson and composers such as Porter and Berlin. Fitzgerald allowed Louis to choose the keys in which to sing the repertoire and together they recorded the first of three albums, Ella and Louis.
A fine romance, with no kisses
A fine romance, my friend this is
We should be like a couple of hot tomatoes
But you're as cold as yesterday's mashed potatoes
A fine romance, you won't nestle
A fine romance, you won't wrestle
I might as well play bridge
With my old maid aunt
I haven't got a chance
This is a fine romance

A fine romance, my good fellow
You take romance, I'll take hello
You're calmer than the seals
In the arctic ocean
At least they flap their fins
To express emotion
A fine romance with no quarrels
With no insults and all morals
I've never mussed the crease
In your blue serge pants
I never get the chance
This is a fine romance.
COMO UN PAJARILLO
LOS ACOSTA
COMPOSITORES: ERNESTO ACOSTA & RICARDO ACOSTA
PAIS: MÉXICO
ALBUM: LO MÁS ESCUCHADO DE
DISCOGRÁFICA: UNIVERSAL MUSIC MÉXICO
GÉNERO: CUMBIA
AÑO: 2019

Los Acosta es una banda mexicana de Grupero gótico de San Luis Potosí
La cumbia mexicana es la adaptación y fusión de la cumbia colombiana con géneros musicales cubanos como el son montuno y las orquestas de mambo así como folclore mexicano de la música norteña, banda, balada mexicana entre otros ritmos mexicanos como el huapango; la cumbia mexicana forma parte de su idiosincrasia musical, así como la interpretación y composición musical hecha por músicos de México.
Cuando el colombiano Luis Carlos Meyer emigró a México, hacia mediados de la década de 1940 y hasta finales de los 1950, predominaban ritmos cubanos como el mambo, la rumba, el guaguancó entre otros que obtenían éxito y difusión gracias al cine mexicano de la época, por lo que también dicha "música tropical" (nombre con el que era llamada en México a todos esos ritmos cubanos) acaparaban la discografía nacional, así años después también acapararían a Centroamérica y Sudamérica, por lo que la cumbia tuvo dificultad para ubicarse como nuevo género musical y tomar lugar propio. Luis Carlos Meyer conoció a Rafael de Paz un músico chiapaneco que componía música variada entre ellas de algunas películas mexicanas, además de que era director artístico de la discográfica RCA Víctor por lo que le brindó soporte orquestal. Así pues, Luis Carlos Meyer como intérprete de cumbia y porro, junto al mexicano Rafael de Paz y Tony Camargo, que era intérprete de música cubana, comenzaron a grabar diversos temas de ritmos varios, entre ellos varias cumbias y porros. Para posicionarse, tuvieron que ingresar aires de metal diversos, entre ellos las trompetas principalmente derivadas de la música cubana predominante en ese país, por lo que, entre estos músicos, realizaron una de las primeras fusiones de cumbia, para dar inicio de lo que se conocería más tarde como cumbia mexicana. Así pues, la cumbia con aires de metal, trompetas y trombones se comenzó a gestar en el país norteamericano hacia mediados de los años 1940.
Nada me importa si tu no estas
pues yo nunca te voy a olvidar
con mis amigos no quiero estar
y mis cassettes ya quiero escuchar

Nada me importa si tu no estas
no me dan ganas de ir a pasear
en el cine no quiero estar
pues todo me hace recordar
cuando tu estabas

Como un pajarillo
quisiera volar, cruzar el cielo
poderte encontrar
por qué tú, solo tu
borraras mi soledad

Como un pajarillo
quisiera volar abrir mis alas
volverte abrazar
por qué tú, solo tu
me darás felicidad

Nada me importa si tu no estas
ya no quiero reír ni cantar
abandonado no quiero estar
pero un poquito así de piedad
no podré soportar

Como un pajarillo
quisiera volar cruzar el cielo
poderte encontrar
por qué tú, solo tu
borraras mi soledad

Como un pajarillo
quisiera volar abrir mis alas
volverte abrazar
por qué tú, solo tu
me darás felicidad.
REINCIDENTE
RAÇA NEGRA
COMPOSITOR: RAÇA NEGRA
PAÍS: BRASIL
ÁLBUM: CANTA JOVEM GUARDA II
GRAVADORA: RGE
GÊNERO: PAGODE
ANO: 2000

O Raça Negra é um grupo de samba e pagode formado na cidade de São Paulo no bairro Vila Nhocuné, Zona Leste em 1983. É um dos grupos pioneiros do desenvolvimento da vertente romântica do gênero. Com um estilo de samba carregado de romantismo, influenciado também pelo pagode
Reuniu 1 milhão e 500 mil pessoas em um único show para o dia dos trabalhadores em São Paulo (principalmente na época, um dos maiores públicos que já houve no Brasil e dos poucos não tão atrás de Rod Stewart no réveillon de 1994 em Copacabana; quando compareceram 3,5 milhões de pessoas). Nos Estados Unidos, reuniu 700 mil pessoas em uma praça pública. Em Angola, na capital nacional Luanda, no Estádio da Cidadela; reuniu mais de 80 mil pessoas, em um show que durou mais de 4 horas.
Em 1998 veio o nono LP e, em meados de 1999 o cd "Raça Negra Ao Vivo" pela gravadora Universal, voltando as paradas de sucesso com a canção "Deus Me Livre" (sucesso de Ataíde & Alexandre). Neste disco, a banda regravou alguns de seus sucessos "Estou mal" (Luiz Carlos e Antônio Carlos de Carvalho) e "Preciso dar um tempo (Luiz Carlos e Elias Muniz). Em 2002 a Banda Raça Negra em "Dueto" com Neguinho da Beija Flor, interpretou "Talismã" no disco, "Os melhores do ano III, da gravadora Indie Records. Neste mesmo ano foi lançado o livro "Velhas Histórias", memórias futuras, (Editora Verz de Eduardo Granja Coutinho. Neste livro o autor faz várias referências à banda e, neste mesmo ano, lançou o cd Raça Negra Samba Jovem Guarda, que teve a presença de Erasmo Carlos na faixa "O Bom" e foram incluídos vários sucessos da fase áurea da jovem guarda, todos em ritmos de samba. Em 2003, como convidado, Neguinho da Beija Flor, participa do disco "Duetos" no qual a Banda interpretou "Talismã". Neste mesmo ano, comemora-se 20 anos de carreira da Banda Raça Negra e foi lançado o cd "A vida por um beijo", disco que contou com oito composições inéditas de Luiz Carlos, entre elas, uma versão de "I Don’t want to talk about it" sucesso de Rod Stewart e liberada pelo próprio cantor, que na versão de Luiz Carlos ganhou o nome de "Vem me amar". Em 2004, foi lançado o DVD em Fortaleza patrocinado pela Universal, onde até então os artistas eram os principais responsáveis financeiramente pelo lançamento de seus DVDs.
Em 2009, surge então o novo trabalho da Banda Raça Negra, o CD "Boa Sorte" com músicas inéditas. Em 20 de janeiro de 2014, o ônibus em que o grupo viajava tombou na BR-101, no município de Goiana, na Grande Recife; havia deixado seis músicos levemente feridos. 
Acabou a noite é mais um dia,
Eu aqui nessa agonia
Esperando você voltar pra mim de novo
Sei que fui eu que te mandei embora,
Mas foi tudo da boca pra fora
Estou pedindo pra você voltar de novo

De novo eu aqui sozinho e fragilizado,
Completamente louco desvairado, pedindo pra você voltar
Me sinto um personagem numa reprise, a mesma história
Outra vez pisei na bola e outra vez
Te pedindo pra me perdoar

Você tem razão eu sou reincidente não posso negar,
Meu lado inconsequente só me faz errar
Às vezes eu troco os pés pelas mãos
Mas meu coração me diz que não aceita te perder
E diz que não consegue te esquecer e não vive sem você (2x)

Sei que fui eu que te mandei embora,
Mas foi tudo da boca pra fora
Estou pedindo pra você voltar de novo

De novo eu aqui sozinho e fragilizado,
Completamente louco desvairado, pedindo pra você voltar
Me sinto um personagem numa reprise, a mesma história
Outra vez pisei na bola e outra vez
Te pedindo pra me perdoar

Você tem razão eu sou reincidente não posso negar,
Meu lado inconsequente só me faz errar
Às vezes eu troco os pés pelas mãos
Mas meu coração me diz que não aceita te perder
E diz que não consegue te esquecer e não vive sem você.
Estudo vai criar registro nacional da síndrome do coração partido ...
Tom: D
Intro: D  Em  F#m  G  A  D  Em  F#m  Bm  F#m
         G  A

D                        Em
Acabou a noite é mais um dia
                 F#m
Eu aqui nessa agonia
                          Em
Esperando você voltar pra mim de
 A
 novo
D
Sei que fui eu que te mandei 
Em
embora,
                         F#m
Mas foi tudo da boca pra fora
                       Em
Estou pedindo pra você voltar de
 A
 novo
  G
De novo eu aqui sozinho e 
           D
fragilizado,
                              A
Completamente louco desvairado,
                       D  D7
 pedindo pra você voltar
G
Me sinto um personagem num 
                D
Reprise, a mesma história
                   A
Outra vez pisei na bola e outra 
G
vez
                       D   A
Te pedindo pra me perdoar
            Bm
Você tem razão eu sou reincidente 

Não posso negar,
A
Meu lado inconsequente só me faz 

errar
G
Às vezes eu troco os pés pelas 
   D  A
mãos
             Bm
Mas meu coração me diz que não 
                 A
Aceita te perder
                                   G
E diz que não consegue te esquecer
         A       D         A
 e não vive sem você (2x)
D
Sei que fui eu que te mandei 
Em
embora,
                         F#m
Mas foi tudo da boca pra fora
                    Em
Estou pedindo pra você voltar de 
A
novo
      G
De novo eu aqui sozinho e
         D
 fragilizado,
                           A
Completamente louco desvairado, 
                      D  D7
Pedindo pra você voltar
G
Me sinto um personagem num 
                     D
Reprise, a mesma história
                   A
Outra vez pisei na bola e outra 
G
vez
                     D    A
Te pedindo pra me perdoar
            Bm
Você tem razão eu sou reincidente

 não posso negar,
A
Meu lado inconsequente só me faz 

errar
G
Às vezes eu troco os pés pelas 
 D      A
mãos
            Bm
Mas meu coração me diz que não 
               A
Aceita te perder
                                  G
E diz que não consegue te esquecer
         A        D   A  D
 e não vive sem você