RAY CONNIFF&#;S SHORT BIOGRAPHY BY VERA CONNIFF ()
Ray Conniff Biography*Ray Conniff, one of the few commercially successful musical geniuses of our time, was born on November 6, , in Attleboro, Massachusetts. Ray was exposed to music at an early age, his father was the leader/trombonist of the local Jewelry City Band and his mother played the a junior in Attleboro High School, Ray and some of his buddies decided to start a dance orchestra. Taking some musical tips from his father, Ray started practic-ing trombone and wound up playing first trombone for the band. It was for this group that Ray did his first arrangement, his fellow musicians loved his interpretation of "Sweet Georgia Brown".Out of high school, Ray got his first professional job with Dan Murphy's "Musical Skippers" in Boston. He played trombone, arranged music and drove a panel truck for the band. When a friend of his told him that Boston was too small for a talented musician to make it, Ray headed for the Big arrived in New York at the birth of "Swing". Before finding a steady gig, he sat in with bands in local clubs and practiced his instrument devoutly. Opportunity found him and he landed his first paying jo
Beautiful music was on the air in the s on WPAT (NYC)and Gordon McClenden played it on his station in San Francisco where Ed Winton was working. Winton brought the format to WGAY which he changed to WQMR AM in Washington DC in early s. Winton and I programmed the station long before long time PD Bob Chandler was hired. In fact in Art Wander hired me at WBAL AM in Baltimore as announcer for his beautiful music format there which was eventually dropped when FM stations did it. Another beautiful music station was WDVR in Philadelphia. It became successful overnight in NOT because they were using my voice tracks BUT because the AM dial switched to ROCK and mature listeners found mature music on FM. Marlin R. Taylor carefully crafted a flow of easy listening instrumentals which appealed to this neglected audience of music lovers. WJBR FM in the Phila market from Wilmington Delaware was a strong competitor as was WQAL, WWSH and others who copied the forma
The Young and the Restless - Nadia's Theme sheet music
"Nadia’s Theme" is a song written and composed by Barry De Vorzon and Perry Botkin, Jr. for the American soap opera TV show titled "The Young and The Restless".
"Nadia’s Theme" is featured as the main musical theme for the show and was initially supposed to be called "Cotton’s Dream" and was intended for the movie "Bless the Beasts and Children".
Released as an instrumental version for "Bless the Beasts and Children" and its soundtrack album by A&M Records, Botkin rearranged the song to be used for Y&R in , at the soap opera’s debut. A confusion with Romanian athlete Nadia Comaneci has been created because of a montage released by ABC, making the song even more famous.
In , because of the public’s interest in the song featured on ABC’s sport montage called "Wide World of Sports", A&M Record released a version similar to the original one, titling it "Nadia’s Theme" and becoming an instant hit. Getting commercial fame instantly, the song charted for over 5 months and reached as high as place
Filho de pai trombonista e mãe pianista, foi natural que ele seguisse o caminho da carreira musical. Conforme Ray contava em suas entrevistas, fez um curso por correspondência, com um único dólar, que o introduziu na arte da teoria musical. Formou o seu primeiro grupo artístico ainda adolescente.1
Anos mais tarde, aperfeiçoou-se de forma profunda na carreira, ao se tornar discípulo da Juilliard School. Depois de atuar e formar uma sólida base musical como trombonista e arranjador nas Big Bands, como as de Artie Shaw, Harry James e outros, Ray passou a escrever arranjos para Johnny Mathis, Guy Mitchell, Johnnie Ray, mas devido a seu talento, teve a oportunidade de formar sua própria orquestra em , a convite de Mitch Miller, da CBS.
Seu estilo de associar vozes masculinas a trombones, trompas e saxofones baixo, e vozes femininas a pistons, clarinetes e saxofones altos, dava-lhe uma característica inusitada e só sua. Seu coral limitava-se a pronunciar sons como da-das e du-du-dus e outras variantes, ao invés de palavras, o que imprimia um &#;colorido musical&#;, intensificando os tons suaves e, ao mesmo tempo, abrandando os mais fortes.
O som de Conniff ficou famoso logo após o
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