Box Sets Music

Ten cd's. Timing anywhere from approximately 44min. to 54 min. Sound quality is good considering the recording conditions. Not digitally remastered. Once again the folks at Membran/Documents has brought us a good collection of music. Artists range from Brownie McGhee to Wynonie Harris to Arthur Crudup to Joe Turner. But thats only the beginning. There are many other r&b artists on this compilation that unless you are a true r&b fanatic you probably have not heard before. That said do not think the quality is second rate! This collection,together with other Documents releases,form a good overview of blues/r&b at a very attractive price. Check out Diggin' Deeper and Goin' Mad Blues-other 10 cd sets for even more good music. At the price I'm surprised more people don't know about these. I initially found out about this label when I purchased a Miles Davis 10 cd set for approximately $20. Do yourself a favor and purchase these sets-you won't be sorry.

wonderful compilation, excellent recording quality, broad range of performers, types of music and regional styles

If you like country, folk, blue grass, gospel there are treats here.

This is an excellent, though hardly exhaustive, compilation of field recorded folk music. Genuine, weird folk music from the (often twisted) genius of ordinary folks. The packaging is a disgrace and the price is unreasonably high, but the music speaks louder than flimsy cases and art-object prices.

The recordings and the people in them are now saved for all of us to hear. An amazing job. I have been listening to folk music all of my life and this set is a most valuable addtion to my collection. THANKS TO THE PEOPLE WHO PUT THIS COLLECTION TOGETHER!!

A note about the packaging. No more "boxed" sets.

good recordings and book... the box is cheaply put together making it difficult to take cd's in and out of. all in all, a bit overpriced for the quality of the product. i purchased the Harry Smith collection brand new for a few dollars more. the smith box and packaging is much more sturdy and of course those stunning recordings are second to none.

The music on this compilation is wonderful. The sound quality is excellent, especially taking into account that all these recordings were done in the field. I like that the booklet has information on each track. I can't say enough good things about the collection. The only drawback, already pointed out by a reviewer is the physical box that holds the discs. However, the artwork, book and music itself more than makes up for this small disappointment. I am very happy I bought this and am anxiously awaiting Volume 2.

This is a classic performance. In fact, I don't think it has many serious contenders in the catalogue. The main characters are excellent. Gabriela Benackova as Marenka gives a splendidly warm characterization and the slightly sharp sounds when she is singing at the top end of the spectrum is no more than a quibble; none at all about Peter Dvorsky as Jenik or Miroslav Kopp as Vasek.

In fact, there are no serious objections to anything on this set. Kosler gives an eminently energetic and vigorous performance (the famous orchestral sections, for instance, are marvelous), and the rest of the cast doesn't really have one weak link.

Sound quality is perhaps not faultless (it is a little clangy in a way which might lead you to believe that the recording is a little older than it actually is), but nothing to complain seriously about. Strongly recommended.

THIS RECORDING HAS BEEN AVAILABLE FOR QUITE A WHILE. THOSE LEGIONS WHO HAVE APPARENTLY NOT HEARD THIS RECORDING HAVE MISSED ONE OF THE GREATEST RECORDINGS OF THE "BARTERED BRIDE' NOW AVAILABLE OR EVER AVAILABLE ON CD. THE CASTING HAS NO EQUAL. BENACKOVA AND DVORSKY ARE BRILLIANT SINGING ACTORS AND THEIR VOICES ARE STRONG AND BEAUTIFUL. THE WHOLE CAST BREATHES THIS WORK AND KOSLER IN THE PIT MAKES THIS WORK THE MASTERPIECE THAT IT IS. THAT IS ABSOLUTELY NO WEAK LINK ANDTHE SOUND IS TOP NOTCH. THIS BELONGS ON YOUR SHELF ALONG WITH "THE HAUNTED MANOR' AND 'DALIBOR'. THE LATER TWO HAVE WONDERFUL PERFORMANCES ON EMI AND DYNAMIC RESPECTIVELY. PLEASE GIVE THEM A LISTEN AND GIVE YOURSELF A TREAT. THE ORCHESTRATION ON THE 'DALIBOR' IS BREATHTAKING. WARNING; THEY NEED MORE THAN ONE HEARING BUT THEN THEY WILL GRAB YOUR VERY SOUL AND SPIRIT.

Sometime ago I posted a review on the highlights version of this audio CD. As an after thought, I think it is also proper to post a review here because both are from the same recording.
I agree with Mr. Edwards's assessment of this CD (which appears in the box set version of the same recording). Basically, he described it (being quoted here) as: 1. It is one of the greatest recordings of the BARTERED BRIDE now available or ever available on CD. 2. The casting has no equal. 3. There is absolutely no weak link and the sound is top notch.
I cannot think of any better way to put it other than what he said. Right on! Having said, I do like to take this opportunity to elaborate this subject matter further.
Case in point: There is a 1963 EMI recording that included Pilar Lorengar and Fritz Wunderlich. As far as singing goes, I consider these two teams of singers are equal (i.e., Benackova/Dvorsky vs. Lorengar/Wunderlich). The rest of the cast in the EMI CD that includes Gottlob Frick is just as strong. One might argue that it is hard to compare the two CDs because the EMI recording was sung in German, rather than the original Czech. We may even have the tendency to giving more credit leaning toward the cast that has Czech as their native lounge. But I really like to draw people's attention on Lorengar, who's singing on the EMI CD. It is so good that no one should miss, especially for whose likes a crystal clear voice. And this is the best recording of hers as cited by many music critics. Don't take the critics' word for it; just judge it yourself. It was pity that none of Marenka's music is included in the ART OF PILAR LORENGAR (DECCA, a 2-CD Set).
It should be noted that I gave 4 stars to the highlight CD (instead of 5 stars for this full version) because Marenka's area in Act 3 was not included there.

I ordered the audio CD of Smetana's opera The Bartered Bride because I knew about the plot and thought it very good. I was right! I really enjoyed it. I did have to read the guide as I listened to it, and because there was an English translation which I read prior to listening to it for the first time, I understood it for the most part. The plotline is simple enough if you understand it. Marenka, a peasant girl in a Czech village, is in love with Jenik, whose past is unknown. However, a marriage broker, Kecal, has encouraged her parents to have her marry Vasek, the second son of a landowner named Tobias Micha. Micha did have another son, an elder one, but that son had disappeared. Marenka persuades Vasek to give her up, and Kecal appears to persuade Jenik to give Marenka up in exchange for money to "the son of Tobias Micha". It turns out that Jenik is the eldest son of Tobias Micha! The singers all did a good job portraying their characters. Miroslav Kopp, who sang Vasek, did a good job portraying Vasek's immaturity. Vasek is nice, but he's just a boy, basically. Kecal believes he's clever enough to get what he wants, and Richard Novak reveals this very clearly. Gabriella Benackova-Capova portrays the essentially serious (though occaisonally gay) Marenka very well also. I especially loved Peter Dvorsky's Jenik. Dvorsky showed us the genuiness of Jenik's love, and Jenik's cleverness as well. I especially loved hearing Jenik bargaining with Kecal, since I knew the joke was on Kecal. I recommend this opera to all opera lovers, though of course those who hate opera probably won't enjoy it, since it is sung in Czech. Belle Book

and right up there with Coltrane's 1961 Village Vanguard recordings as far as live jazz sets go. all told, any words that I could add here quite probably simply wouldn't be able to do this masterpiece justice ... that said, if you want to know where I'm coming from, taste-wise and praise-wise, take a look at some of my other reviews/lists.

The great late Art Pepper made an unforgettable live presentation on July 1977 in Village Vanguard with the great rhythm section. George Cables is marvellous on piano, George Mraz plays bass as well as with Bill Evans and Elvin Jones on drums reminds me from the golden days of John Coltrane classic quartet. Even the spoken narrative intros by Art Pepper are fascinating. Sadly Art Pepper could'nt live longer as he passed away only 5 years after these brilliant Village Vanguard dates. In Art Pepper we really had a new "Bird" vein in 1970's. Check also his brilliant records from late 50's and early 60's. Highly recommended ! Long live the memory of Art Pepper.

Ever since I saw this box on the shelf in 1995, I wanted to hear it.
I had one of the single discs made from these sessions, and never went back it for repeated listening. So, this box was never a must-have for me, whereas many recordings by Coltrane, Stitt, Parker, D. Gordon, Sonny Rollins were must-haves. Many years later, I see this box for a great price and buy it.

I have listened to it. I'll probably keep it, but probably won't listen much again.

I don't hear any 'magic nights' or incredible jazz. I could be over-influenced by my knowledge of circumstances that I read in the liner notes, like -- this was a pick up group, not a group used to playing together. (A pick up group of name players, but still a pick up group). And the fact that Art Pepper was so nervous about this gig that he stayed loaded on cocaine, staying up all night writing new tunes the whole week.

When I hear Art Pepper's solos I hear a nervous, clipped style, that sounds sort of unable to get going or develop ideas. The other players are fine enough, but this box really delivers the same style and texture of music for 9 CD's, and never transcends that.

If you are an Art Pepper fan or a scientist of saxophone, it's a document of those nights, yes, but not classic jazz, to my ears.

Anyway, on the OTHER HAND, you could take the money for this and spend it on 'Art Pepper, the Hollywood All-Star Sessions', a 5 CD box, which is a BEAUTIFULLY RECORDED set of 6 all-star sessions from 1979, that just sounds excellent all the way through. Again the liner notes have influenced my appreciation of context, they say that when Art Pepper was not the LEADER of the dates, he was more relaxed and less nervous. And so it sounds!

I made a few calls, and it turns out that JVC leases the origional tapes from Contemporary Records to remaster the material in 24-bit, 96-k fidelity. I ordered the set, and have been quite pleased with the sound and packaging. No muddy mids and highs you get with the early 90's reissues.

For the discerning listener, this is the only option for Art Pepper fans.

This box set is great, but JVC released a completely remastered version of this set a little while ago. It's like 250.00, but if you want the best in sound, then search for it in jazz imports section. jb

What I find fascinating about this particular year is that everything good/bad/indifferent in the 1960s finally got to be expressed by Motown in 1968 and 1969. However, one thing wasn't: The Vietnam War. It looks like that the main reason the War wasn't touched on was that Berry Gordy wanted to not alienate his atypical Motown buyer, which was a wise business move.

However, as it became clear that Mainstream America detested that War, Gordy allowed anti-war music to be releaed by his various labels. One song that people don't know of is one that Martha and The Vandellas did called "I Should Be Proud" also became the first explicitly anti-war song Motown Records ever did (and was pulled from radio stations as a result, probably because it mentioned the then current Vietnam conflict by name). Later on though, the Edwin Starr "War" and Stevie Wonder's "Heaven Help Us All" were released to wide acclaim, and since radio stations didn't pull them, they ended up being classic songs that are still listened to today.

Other popular songs, such as "You Need Love Like I Do (Don't You?)", "The Tears Of A Clown", "It's A Shame", and so on, show that 1970 started off for Motown the same way 1969 did: with that R&B company from Detroit making hit after hit.

As we all know, the end of the Detroit run was about 2 years into the future, and I hope that Universal will release all the singles that Berry Gordy & Company were cranking out back then. They'll be worth it!!

This entire series is amazing. I believe it will be completed at the publication of the 12th volume, and each volume has 5 or 6 discs. I am up to Volume 9, and I can't really say there has yet been a single weak song. And I have now discovered so many awesome Motown songs I had never even heard before! This truly is a treasure trove. Yes, some songs are better than others, but all the music from this amazing dozen-year Motown era is great. The British Invasion may have brought over the Beatles, The Rolling Stones, The Who and many others, but our American Motown is of equal or better historic significance. This music is just so consistently CLASSY it defies words. Elegance just pours out from each disc here, it is unprecedented and will never be equaled in the future.

I've been surprised to learn that there are styles of music other than soul on the Motown label. There is some very good country music as well. These discs also have a smattering of interviews and some other holiday-type nonsense which are very fun to hear and which puts the entire era in context.

The packaging for the entire series is the best I've ever seen. It is a little hard to hold the book open so you can pull out or put in the discs, but this is a minor struggle and it is well worth it. The discs are held tightly in place and are well protected, and the historical information about any particular song is readily accessible. The 45 disc which slots into the front cover is really an innovative and clever flourish, and it gives the volume's book a really nice upgrade.

Okay, here is the bummer, and it is a major one. If you are like me, you are going to want the entire series if you buy even a single volume. You will buy the first volume and you will immediately realize that it is a worthwhile investment to obtain the entire series. And who really wants to own only part of a series of anything? The cost of even one volume here is enough that you'll probably want the entire collection. Well, as I write this, in January of 2009, volume 6 is no longer available. Gone. Completely gone, except for some guy trying to sell copies for $2000 as an Amazon-affiliated seller. As good as this music is, I'm not going to spend $2000 on a single volume. Yes, I've searched eBay relentlessly for months, with no luck at all. Yes, I've searched the virtual catacombs of international online sellers, with no luck at all.

So, I'm already over a thousand bucks into this series and yet my collection is missing one of the best volumes (it covers 1966 when a lot of the talent was at their crescendos). I've twice emailed Hip-O Select Records, the publisher, and not heard a word back. I've called their customer service, and they were clueless and indifferent. The girl who answered the phone for them did not know a thing about the series. Basically what has happened, by proclaiming this as a "Limited Edition," is that they have created an inducement for various opportunistic sellers to hoard the best volumes and then to gouge Motown fans later when the inventory held by legitimate sellers is gone. They then jack the price up into the stratosphere.

So, one can only hope that Hip-O Select does another run of these amazing Motown volumes. If you are a Motown fan, you will be astonished when you hear all the incredible treasures which this series contains.

If you have been reading the reviews , you know what the series is about. The (nearly) "Complete Motown Singles" from the Detroit era 1959-1972. A very few songs had to be left off due to licensing in the series. But what you do have with the fresh , new decade starting year of 1970 is 144 songs on 6 discs clocking in at 7 hours , 33 minutes , and 3 seconds. Marvin , Smokey , The Marvelettes , The Temptations , The Jackson Five , Diana Ross without the Supremes , the Supremes without Diana Ross , Rare Earth ...and "War ! What is it good for ? Absolutely nuthin' (say it again y'all).....I am going to be so depressed when this unbelievable series comes to a close next year. Total series to date : 1,398 songs on 55 discs at over 64 hours....BUY THEM ALL NOW !!!!!!!

Just wanted to say i love this CD-collection:)...alot of great songs as always:-)...Thanx:O)**greets from Bina;o) i received this cd-collection on march 14th-08*

I cant think of one pre-1998 charting song missing from this collection. "Love Will Turn You Around" is on this collection on CD2 actually being a #1 hit. I cant think of any song that is considered essential or a greatest hit that isnt on this collection. Also many the Disc 2 songs sound like they use the same masters as the later 21 Number Ones collection minus the chops at the ends of the songs.

its kenny rogers music is great enough said

This box traces Kenny's music from its beginnings, long before he was famous, up to 1997. At that point, it looked as though Kenny's years of success were well and truly past. Radio stations, while content to play his golden oldies, ignored his new material. Of course, there was a revival, with the album She rides wild horses and the comeback hit Buy me a rose. Apart from the hits from that album, all Kenny's major hits can be found on the four CD's in this box.

The first CD covers the early years, but only the last eight tracks represent his music with the First Edition, The first twelve tracks form a fascinating historical record, demonstrating that Kenny's roots were many and varied, but with plenty of jazz. The First Edition tracks are the original recordings. Kenny later re-recorded some of these songs, but although those re-recordings are often used on compilations of his music, EMI decided on this occasion to license the originals. The best known of these tracks is Ruby don't take your love to town, but Something's burning was also a big hit. Dolly revived But you know I love you in 1981 and actually had a bigger hit with the song than Kenny had.

The second CD contains all Kenny's American number one country hits of the seventies and eighties. These include three duets with Dottie West (a vastly under-appreciated singer), two duets with Dolly Parton (including Islands in the stream) and one each with Sheena Easton (We've got tonight) and Ronnie Milsap. Among his solo tracks on this CD, you will have your own favorites. Lucille is the song that turned me on to Kenny's music and I still think it's his best - but not by much. Tomb of the unknown love is much less well known than the earlier classics, but it is a wonderful song.

The third and fourth CD's cover the same period as the second CD, but they cover the hits that didn't reach number one. Again, there are three duets with Dottie and two with Dolly. Other duets feature Anne Murray, Holly Dunn and Nickie Ryder. Kim Carnes features twice - once in a duet with Kenny on Don't fall in love with a dreamer, and once singing with James Ingram and Kenny on What about me? My favorite solo tracks from these two CD's are Scarlet fever, Evening star and Blaze of glory, but there are many other brilliant songs here and your favorite may be different. Looking at other compilations, the obvious omissions are Love will turn you around and The long arm of the law. Neither of these are essential, but it's a pity that anything got left out in a collection of this nature.

So, this is a very interesting collection that covers Kenny's career up to 1997 in depth. I still get immense pleasure from listening to him, even though I've heard some of the songs hundreds of times.

Four-and-a-half hours is probably more Kenny Rogers than the average fan needs, but this 4-disc retrospective is the most comprehensive collection available to date.

Disc-1: All but the die-hard fans will be unfamiliar with the first twelve tracks recorded between 1956-66. These tracks are mostly of historical value and show Rogers working in a variety of styles (doo-wop, jazz, big band) both as a solo and with The Scholars and The Bobby Doyle Three. It is with "Just Dropped In"--The First Edition's quasi-psychedelic 1968 hit--that the material becomes more familiar. The rest of the disc includes the rest of that group's hits with the glaring omission of 1970's "Heed the Call." [Also worth noting is that these are all original recordings. Capitol Records has negotiated licensing agreements with Reprise, United Artists and Liberty, something that was NOT done with earlier compilations like Ten Years of Gold, Twenty Greatest Hits, and 20 Great Years which occasionally resorted to rerecording some of these songs.]

Disc-2: Rogers achieved superstar status in the Seventies. Each one of these songs peaked at No. 1 on the country chart. All but seven of them also placed in the Top 40 on the pop charts--including two No. 1 pop hits: "Lady" and his duet with Dolly Parton, "Islands in the Stream."

Disc 3: While not packed with hits like disc-2, all but two of the songs on this third disc ("While the Feeling's Good" and "The Greatest Gift of All") charted in the Top 40 on the country and/or pop chart, including one of Rogers' rare songwriting credits on "Sweet Music Man."

Disc-4: By the mid-Eighties, Rogers was no longer the guaranteed hit machine that he had been for the past decade. Only four of these songs went Top 10--all on the country chart--but these are all solid performances. And despite 1991's "If You Want To Find Love" being the most recent charting single on this box set, the final chapter on Rogers' career is yet to be written.

While this box is a bit pricey, it's the only way to show the breadth and depth of his career. RECOMMENDED

The review by "Doug-Haydn Fan" is spot on. This is a wonderful collection of the Labeque sisters spanning approximately 15 years. It includes most of the recordings the sisters made for the Philips label - most discs are previous Philips albums in their entirety.

If you've never listened to the Labeques, buy it without worry, it is guaranteed to please any lover of piano music. It's filled with their characteristic energetic style and flair, but without any hint of being over done.

If you are a new fan of the Labeques, having heard some of their releases since 1996, this collection will delight you as a perfect record of what might be called the second phase of their careers, roughly from ages 30 to 45.

If you already own some of these recordings, you know this price is too good to pass up. Consider it as a perfect gift to share with friends who love classical music. Or better yet, consider it for those who aren't familiar with classical. You'll receive many thanks either way.

Lastly, these Philips recordings are magnificent. All the Philips classical recordings I've heard during this period are of the highest quality and clarity, and these are no different. The dynamic range is right at the limit of recording technology (and the human ear). Don't try to listen to these in the car (unless it is turned off), as you'll miss the most subtle details of the soft passages, then blow out your windows when suddenly the sisters are pounding the keyboards.

The sister's Labeque, Katia and Marielle, have become sort of a modern day version of Flagstad and Melchior, the Met's supreme Wagner pair of the thirties: people quite take their supreme gifts as duo pianists completely for granted. "Oh, yes, I really like them!", someone will say. Yet somehow they never seem to generate the same sort of critical attention here at Amazon other still up and coming musicians regularly receive. Certainly anyone who has attended one of their concerts cannot help but be impressed with what must be one of the most pleasureable experiences in classical concert going.

When the Labeques started off on their own company/projects Philips put together this large box set covering the first decade and a half of their career. These CDs run from the initial and famous Gershwin numbers released in 1980 and which put the duo on the musical map with a huge uproar through the Tchaikovsky numbers from 1995, with in between a wide-ranging selection of many great albums. Here we have a 6 CD box set showcasing a great deal of some of the finest and most accessible selections from these two famous artists in the two piano repetoire at a stupendous price!

The box set of six CDs comes with cardboard sleeves containing a listed program and a five page essay, "Piano Fantasy", by Max Harrison (In English, French and German) discussing the individual selections. There are 8 pages of track listings, each with timings. Save for a single black and white frontspiece photo no mention whatsoever is made of the two stars.

To my taste the selections from the French repetoire are first rate as performances, no surprise there. Also of no surprise are good work in Gershwin, with a two piano version of Rhapsody in Blue for both two pianos and another version for two pianos and orchestra. If this doesn't quite earse memories of Earl Wild it's still approapriately and well played. Arrangements by Debussy - of all people! - of three selections from Swan Lake for two pianos add a fascinating novelty, as do a further five selections from Tchaikovsky's The Sleeping Beauty ballet arranged by Sergei Rachmaninoff!

A full CD is given over to some of my favorite music, the piano music of Spain's golden age. This alone made the disc for me - great display pieces glowing with light and energy, with several two piano arrangements made by Albeniz of his most famous solo pieces. You can hear samples of this CD at Espana! / Katia & Marielle Labeque / Albeniz Lecuona Falla (Philips)

There are also two discs devoted to the famous dances of Brahms and Dvorak. You can here samples from both of these CDs at Amazon's original listings for the initial relelases. Brahms: The 21 Hungarian Dances Dvorak Slavonic Dances op 46 + 72 Lebeque Sisters (Philips) There are a several other versions of these, but the Labeque's acquit themselves well against the 'bigger' names. One just doesn't sit down and start playing two piano music, and their background with such issues as balancing the two instruments in a recording pays off. As Paul Hornung so rightly put said it in his famous commercial, "Practice, practice, practice."

A great bargain filled to bursting with outgoing, highly attractive music! If you enjoy the Labeques or piano recordings in general this should be a wondeful addition to your collection. If you have yet to purchase one of their CDs this certainly is a good place to begin!

The Labegues continue to strike out on their own with fresh ideas and in new directions, with new repetoire, DVDs, and cross-over albums that don't really sound like cross-over performances. Among my choices in their new work would be;

Having saved bundels on the Philips set you might first try the expensive but fabulous new issue; Maurice RAvel: Katia et Marielle Labeque A revisit to Ravel that must be among the exciting recordings they've done. The Rhapsodie Espagnole strikes levels of dramatic intensity not to be missed!

Katia et Marielle Labèque play Stravinsky & Debussy [CD + DVD] A wildly creative visual approach generally works quite well -very 'hip' or avant garde DVD.

In 1996 Katia on her own joined a group of outstanding partners for a fabulous jazz CD. Little Girl Blue Don't let the cover deceive you - this is 1996 CD is terrific stuff. Katia now has branched out from her sister and has been active on her own with stunning small ensembles for almost a decade.

Katia also joined Russian violinist Viktoria Mullova for a series of concerts and recordings highlighting a repetoire marked with originality in programming and distinquished musicianship.
Viktoria Mullova & Katia Lebeque in Recital

If you want to see the pair in a visual feast while playing their French repetoire check out the DVD cited below. It rises above the soupy cover's suggestion of bland daydreamy picture postcards with a wealth of fine images and a nice mix of present and past.The Loves of Emma Bardac - Katia Labeque, Marielle Labeque, Pierre Boulez

Excellent collection, except I wish they could have picked another B.B. King tune than the overrated "The Thrill Is Gone."

An Awsome Collection Of Hard To Find Roots Music In A Box
Set Thats Worth The Money

One doesn't envy anyone charged with the task of assembling a collection of essential recordings in America's many folk and vernacular genres. As such things go, American Roots Music is decent enough, though inevitably anyone who knows the music will wonder at the omissions (for example, of Dock Boggs or any of the classic old-time string bands). Perhaps the major problem here is that the four discs encompass such a range of styles that they can hardly begin to do justice to any one of them. The serious listener will already have much of this in his or her collection. Of course it's not exactly a painful sacrifice to hear "Waiting for a Train," "Uncle Pen," "Black Snake Moan," "Cross Road Blues," or any of a number of other warhorses, yet again. I was least familiar with the music on Disc #4 (Cajun/Zydeco/Tejano/Native American) and so enjoyed it the most. A particular treat is Mingo Saldivar's lively version of the old Johnny Cash hit "Ring of Fire." Saldivar doesn't just sing the lyrics in Spanish; he reinvents the melody, making it sound as if "Ring" were always supposed to be a conjunto tune. The disc ends anticlimactically, however, with the inexplicable inclusion of a New-Ageish composition, when a reprise of the wonderful series theme song (a movingly organic rendition of "Worried Man Blues" by performers representing a variety of traditions) would have been a more proper send-off. As a primer set in an unusually attractive package, American Roots Music will do, more or less, but seasoned followers of our homegrown sounds will seek their pleasures elsewhere.

My wife and I had been eyeing this boxset for a few years now and she finally broke down and got it for me this past holiday season. It's a nice mix of country, blues, gospel, cajun/zydeco, tejano and native American. Overall, the box set is excellent. I don't think there is a bad tune on there, but I do feel it felt short on gospel, folk, cajun, zydeco, tejano and native American styles. There's only about 6 or 7 tracks for each of those styles where an entire 16-19 track disc is dedicated to both country and blues. The set should have been 6 discs instead or it should have been limited to just country and blues. Likewise, I felt it strange that an American Roots boxset included no jazz, for jazz is the only true first American born music, which is based on the blues of course. It's a great collection though and I enjoy listening to it every time. The long wait was worth it. I highly recommend it.

The PBS American Roots Music series - both the 4 part documentary on DVD and 4 CD boxed set - is a commendable work. It is an incredible education in not only popular American music and culture, but history, and should be required viewing and listening in high schools.

Many of the problems in American Society and its youth today stem from a complete lack of pride and self-awareness. A quick survey of popular music and culture reveal a frightening level of ignorance of America's history, values, and ideals. In short, while the series focusses on America's musical traditions, it does a fantastic job of conveying a sense of America's "roots" in a positive, enriching manner.

The DVD documentary strikes a perfect balance between glossing over, and becoming bogged down in, the material. Unlike the Ken Burns' projects that exhaust the viewer's interest and collapse under their own weight, the series is informative and educational, yet entertaining. It is not MEANT to be an exhaustive treatise on the subject - and so some reviewers here are missing the point - that would take 40, not 4, episodes. Rather, it is an introduction and a sampler; peaking our curiosity and prompting us to investigate and research further the wonderful heritage of music out there. And in that, it succeeds marvelously.

What also impressed me was the documentary's remarkable objectivity. While it eschews political correctness, it doesn't necessarily candy coat anything either. What it does do is present the material in a respectful, thoughtful, intelligent, and unbiased manner - something so lacking in today's political and social discourse. So in this sense, folks looking for something with an "agenda" - conspiracies, skeletons in the closet, and historical revisionism - may be disappointed by the documentary.

The CD boxed set is equally well-done: a fantastic booklet, thorough liner notes, and collection of songs that is a music lover's dream. Again, it is intended to be a sampler - great songs by landmark artists - not an exhaustive account of American Roots music. And also like the documentary, its meant to be a enriching, uplifting - not deconstructing - experience.

If the series has a shortcoming, it is the absence of one of the major "roots" - Jazz - which was no doubt and most unfortunately excluded, because of the recent Ken Burns' PBS documentary. But to exclude Jazz from the discussion of American Roots music, means we do not have the entire picture. And so in that sense, the series is somewhat flawed.

Still, its hard to find any other fault with the series. This is a work that TRULY embraces and celebrates America's cultural diversity. Entertaining and enlightening, I would heartily recommend owning the box set and DVD for one's own edification as well as a way to help introduce friends and family to REAL American music - in all its forms.

The Best of the Columbia Years: 1943-1952 is a solid "best of" hits collection of Frank Sinatra's most wonderful songs from the years he recorded on the Columbia Records label. The quality of the sound is superlative and the artwork is naturally very fine. This is a good choice for people who are becoming more serious Sinatra fans who may not yet know if they want everything by Frank. After all, there are Sinatra fans who like his years at Reprise Records and there are those who like the years he worked for Capitol Records and so on. This box set also includes a 76 page booklet about Frank including an introduction written by Nancy Sinatra herself.

"Close To You" starts the first CD with a heavenly tune; Frank croons this and the backup singers harmonize to perfection and beyond! Listen also for "People Will Say We're In Love;" this charms me with its beauty. "Stormy Weather" also features Frank squarely in the spotlight--right where he always belonged! We also hear backup singers which was typical at the time these songs were recorded. "Where Or When" is easily a major highlight of the first CD; the strings are used to great advantage and "Where Or When" is absolutely superb. Frank even performs a great rendition of Judy Garland's signature song, "Over The Rainbow;" and he does this with panache--as easily as if it were just breathing! Frank's extraordinary talents always carried him through.

The second CD boasts a great rendition of "Nancy (With The Laughing Face);" this sensitive melody gets the royal treatment from Frank and I'm very impressed. "Try A Little Tenderness" stuns me with its beauty; Frank delivers this with grace and a certain poise that I rarely hear or enjoy. "That Old Black Magic" is a tune that Frank yet again croons perfectly without a superfluous note; and I really like "September Song." "There's No Business Like Show Business" is, of course, a pretty upbeat ballad about show business; and there's also an excellent version of "Sweet Lorraine."

On the third CD we get much, much more. "One For My Baby (And One More For The Road)" has very little surface noise even though this is the 78rpm recording of this song; and listen for "Night And Day." "Night And Day" is a timeless love song that I could never forget; and I also enjoy "I'm Glad There Is You." The strings are used well on "I'm Glad There Is You" and Frank sings this better than anyone else I've ever heard sing this song. "Some Enchanted Evening" proves Frank Sinatra could easily perform show tunes with great sensitivity, too.

The fourth CD has much to offer as well. "That Lucky Old Sun (Just Rolls Around Heaven All Day)" really showcases Frank's singular ability to take on any ballad and make it very special; and "When You're Smiling (The Whole World Smiles With You)" was always one of my very favorite classic pop vocal tunes. "April In Paris" has a great musical arrangement; and "We Kiss In A Shadow" is yet another show tune that gets a great interpretation by The Chairman Of The Board. "I Hear A Rhapsody" is another memorable number and "The Birth Of The Blues" is very special when Frank gives this his all. "Why Try To Change Me Now" ends the fourth CD real strong as Frank bats this straight out of the ballpark!

Overall, this is a "must-have" for Sinatra fans and people who like the crooners will certainly want this box set. You won't be disappointed.

Reading through the other reviews, there is nothing much I can add to the superlatives directed at this compilation of the work, at Columbia Records, of a man who can arguably be described as the greatest vocalist of the 20th Century. However, I notice too that the only two 3-star reviews to date have drawn a disproportionate number of negative votes, almost as if it's regarded as sacrilege by some to even dare cast a negative light on any compilation of Frank Sinatra songs. Well, I can see their point to some degree.

A large part of my 5-star assessment relates to the near-flawless sound quality and the packaging, 4 discs contained in a book-like 5.5 x 10 inch case which also presents a 68-page booklet divided as follows: Introduction by Nancy Sinatra; At the Heart Of American Music by Daniel Okrent; The Essence Of Axel - An appreciation by Will Friedwald; Sinatra Standards by Roy Hemming; The Art Of Recording by Charles Granata; Sinatra In Transition by Will Friedwald; Frankly Speaking - personal recollections by Dave Mann and Matt Dennis; Here's To The Band - Orchestral personnel listing - New York and Hollywood; Alphabetical Song Title and CD location; Discography. Sprinkled throughout are some 78 rpm/vintage poster and advertisement reproductions and many candid photographs, including one delightful shot with a very young Nancy.

As to the music contained herein, well, they do call it The Best Of The Columbia Years 1943-1952 after all, and when a collector like myself sees the term "best" - especially from that pre-LP era - they are thinking those songs that became national hits, since that was the whole idea behind popular 78 rpm releases, i.e., "sell as many as we can and get as much air and jukebox play as we can."

And since, in the 1943 to 1952 period, Ol' Blue Eyes registered some 87 hits for Columbia, one might think that a 97-track box set so-titled would contain most, if not all, of those hits. But when you look closely you find that just 39 of those charted songs are here!

Now, I can readily understand the producers selecting items that, while never actually hits for Frank, or perhaps were among his more modest chart entries, are nevertheless regarded as among his finest performances at Columbia, Standards such as April In Paris, Body And Soul, Always and She's Funny That Way (none of which charted), and I've Got A Crush On You (# 21), All Of Me (# 21), Autumn In New York (# 27), and The Birth Of The Blues (# 19 in late 1952 and his last Columbia hit), all of which were modest entries at the time.

But it's definitely misleading to some to have just 42% of the contents legitimate hits in an album titled "The Best Of." Especially when no less than 14 TOP 10 hits were omitted: All Or Nothing At All (# 1 in 1943 with Harry James); You'll Never Know (# 2 in 1943 and the A-side of a record that included Close To You, a # 10 that IS included here); Sunday, Monday Or Always (# 9 in 1943); I Couldn't Sleep A Wink Last Night (# 4 in 1944); You'll Never Walk Alone (# 9 in 1945); Don't Forget Tonight Tomorrow (# 9 in 1945); All Through The Day (# 7 in 1946); The Coffee Song (# 6 in 1946); That's How Much I Love You (# 10 in 1947); I Believe (# 5 in 1947 as the A-side to Time After Time, a # 16 which IS included); So Far (# 8 in 1947); The Hucklebuck (# 19 in 1949); Goodnight Irene (# 5 in 1950); One Finger Melody (# 9 in 1950); and Castle Rock (# 8 in 1951).

What I would dearly love to see is a follow-up volume in the exact same format containing those and other missing hit singles. In the meantime, if you just enjoy the music of this legend, regardless of the title, you will definitely NOT be disappointed. It's a gem in that regard.

Frank Sinatra, son of a fireman, dropped out of high school as a senior to pursue a career in music. At 20, Frank Sinatra started out singing with the Hoboken Four, then as a singing waiter, but had his eye on bigger fish. In 1939 he signed with trumpeter and bandleader Harry James (The Complete Recordings Nineteen Thirty-Nine). The next year, he left to join Tommy Dorsey's band as vocalist (The Song Is You), until he set out for a solo career with Columbia Records in 1943. These early years were previously available on the excellent (and now-out-of-print) box set The Song Is You and the single CD reissue of The Complete Harry James and Frank Sinatra. However, a new Sony box set, A Voice in Time: 1939-1952, combines this pre-Columbia Brunswick material with Sinatra's Columbia gems and airchecks. If you're looking for a more complete portrait of early Frank, you're better off buying the new A Voice In Time release.

The Columbia Years, 1943-1952

Frank signed with Columbia in 1943, although the groundwork had already been laid for his first solo album The Voice of Frank Sinatra with several Cole Porter recordings in 1942 (arranged by Axel Stordahl). Throughout the mid-1940s, Sinatra appeared in numerous films and radio series. The Best of the Columbia Years conveniently lists songs by the film that they appeared in; nearly all of the Great American Songbook composers make appearances, including Gershwin, Berlin, Rogers and Hammerstein, Porter, Kern, Arlen, and Mercer.

By the early 1950s, Sinatra was increasingly at odds with Columbia head Mitch Miller, who relied on having his stars record silly novelty songs to boost ratings. Miller was also in favor of overdubbing, where the technically exacting Sinatra preferred recording with a live band and backup singers. Miller's demands that Sinatra record the truly awful "Mama Will Bark" (thankfully omitted here), and his perception that Sinatra was already a washed-up teen idol, led to Sinatra's switch to Capitol Records in 1953, where he had the last laugh on Miller (and the rest is music history).

The original Frank Sinatra: The Columbia Years: The Complete Recordings was a massive twelve-CD, 285-track epic collection of Frank's entire Columbia catalog (hideous novelties included). This four-CD, 97-track distillation offers the highlights, including many memorable original recordings (as opposed to later Capitol and Reprise rerecordings) of seminal American Songbook classics such as Night and Day, All of Me, You Do Something To Me, Where or When, How Deep is the Ocean, etc.

Packaging

The Best of the Columbia Years comes in at least two versions: a longbox, and a more compact, traditional four-CD set in a slipcase. I own the longbox version. Two CDs are stored vertically on the front and back plates, and the nearly 70 pages of liner notes are full of rare photographs of Frank and family, essays by Sinatra expert Will Friedwald, orchestra personnel listings, alphabetical song listings, and a discography.

It's clear that this was a labor of love, and it is a collection to be treasured, especially since the original Complete Columbia Recordings has been out of print for several years. The sound quality is impeccable, the songs themselves are a reflection on a simpler time long past, and the liner notes are full of personal recollections and trivia. Buy this while you still can; it's worth twice as much!

As though to help his biographers, Frank Sinatra's musical career can be separated into clear-cut, chronological periods: the Tommy Dorsey years, the Columbia years, the Capitol years, and the Reprise years. These four CDs comprise the best of the Columbia Record years. The first is my favorite because of my familiarity with so many of the lyrics and songs, and the fourth segues nicely into the swinging and saucy style Sinatra adopted when he signed with Capitol Records (a sweet, nostalgic world-weariness alternating with a swinging, in-your-face sexiness, sometimes on the same record).
The maturing, confident Sinatra of the Columbia years in the '40s and early '50s reveals a resonant and deepening voice (compared to the Dorsey years) that combines with a gentleness and tenderness that had to appeal not only to bobby-soxers (whose younger sisters, seduced by early rock, would not find the Sinatra of the Capitol years ten years later anywhere as appealing) but also to their mothers and older sisters who, lonely keeping the home fires burning, were waiting for husbands and lovers to return from war. Anyone who remembers the '40s with anything approaching fondness will find memories forcefully stirred, and those who know those heady times only second- or third-hand will be equally stirred by a musical master whose style and command of the standards matched Bing and Perry's and perhaps, for strength and intimacy, even surpassed theirs.

"Frank Sinatra was like the Mount Everest for a songwriter: if you got Frank to do one of your songs, it was done right." ~ Antonio Carlos Jobim ~

This is *the* most comprehensive CD package I've ever came across in all Sinatra recordings. It's a 4-CD set consisting of his best recordings from Columbia Records from 1943 thru 1952, which includes ninety-seven songs, most are rare recordings and some alternate takes. With the package is a very detailed and informative booklet of 76 pages that documents Frank Sinatra's fruitful tenure at Columbia Records. The introduction was written by his celebrated daughter, Nancy Sinatra, who singled out the most outstanding quality of her father, his honesty - "honesty that comes through in the lyrics, in the music, in everything that he does. It's that feeling that enables him to take for example, a Sammy Cahn lyric - with Sammy's deepest, most profound feelings - and make it understood by everybody. That's the mark of a great communicator, and not many people are able to do that sort of thing in the honest way he does!"

The booklet offers a chock-full of goodies such as photos of Sinatra with some of the musicians involved in these recordings -- mini photos of music sheets, album covers and single records; photos of songwriters Irving Berlin, Jonny Mercer, Rodgers & Hart, George & Ira Gershwin, Rodgers & Hammerstein, Cole Porter, Jule Styne and Sammy Cahn; alphabetical song titles and CD location listing; a discography; a complete orchestra personnel listing in New York and Hollywood studios; brief information on arrangers Heinie Beau, Sy Oliver, Ray Conniff and Percy Faith; and the following interesting articles.

1. At The Heart of American Music by Daniel Okrent, Managing Editor of Life Magazine
2. The Essence of Axel by Will Friedwald, Author
3. Sinatra Standards by Roy Hemming, Classic Pop Historian
4. The Art of Recording by Charles Granata, Author, Sinatra Historian and Archivist
5. Sinatra In Transition - an appreciation by Will Friedwald, Author
6. Frankly Speaking - interviews and personal recollections by Dave Mann and Matt Dennis, Composers

One thing I admire about Frank Sinatra besides his many musical virtues was his deep sense of gratitude, he always gave credit when it's due especially to people whom he had worked with. And these are his thoughts: "I consider myself among the luckiest people in the world to have been able to make a career out of what I love to do - interpret wonderful music." It's a common knowledge that Sinatra's bright career started at Columbia and he declared that it was a "rare opportunity and a treasured gift having the opportunity to immerse himself in the talents of people like Axel Stordahl, the Gershwins, Jerome Kern, Johnny Mercer, Rodgers & Hammerstein, Alec Wilder and Nat King Cole" while he was at Columbia Records. In addition, his pianist Stan Freeman commented that he only remembers Sinatra as "being very aware of what he wanted, and getting it! If he thought a flute or oboe part should be left out on one session, he would say so. He didn't have to take charge, but nominally he was in charge - and everybody knew that. He was always very pleasant, never any tantrums or anything."

Listening to these CDs gives me a touch of nostalgia that takes me back in time when I was growing up and constantly hearing these same songs played repeatedly by my late parents. These are the original recordings and I guess Sinatra's renditions are more subdued and reserved as opposed to the second or even third recordings. In my opinion, there is that element of restraint in the way he interpreted them as compared to his passionate performances in the succeeding years from 1953 thru the last years of his recording career. But don't get me wrong, I still consider these CDs five-star materials. They are truly remarkable and the songs that stand out and the most wonderful from this set are as follow.

Disc 1
"Close To You," "If You Are But A Dream," "Stormy Weather," "Embraceable You," "Where Or When," "All The Things You Are," "Dream," "If I Loved You," "Someone To Watch Over Me," "You Go To My Head," "These Foolish Things," "Day By Day," "Put Your Dreams Away" and "I Should Care."

Disc 2
"Always," "Mam'selle," "Time After Time," "Try A Little Tenderness," "Full Moon And Empty Arms," "Begin The Beguine," "They Say It's Wonderful," "That Old Black Magic," "Five Minutes More," "The Things We Did Last Summer" and "Guess I'll Hang My Tears Out To Dry."

Disc 3
"My Romance," "If I Had You," "Stella By Starlight," "But Beautiful," "All Of Me," "Night And Day," "The Song Is You," "S'posin'," "What'll I Do?," "Fools Rush In," "I've Got A Crush On You," "It All Depends On You" and "Some Enchanted Evening."

Disc 4
"You Do Something To Me," "When You're Smiling," "Nevertheless," "The Birth of the Blues," "Should I Reveal?" and "I Could Write A Book."

This is Axel Stordahl's greatest contribution to Sinatra's rise to stardom. He was called the "Father of Modern Vocal Orchestrations" for his exceptional arrangements on most of the tracks. Nelson Riddle once said that Stordahl was his favorite arranger/conductor. He was Sinatra's very first conductor and musical director. He was described by Will Friedwald as "the man who helped popular music's greatest vocalist lay the foundation for his entire career."

I agree with another great Sinatra arranger who was also very impressed with the works of Stordahl, Don Costa, when he said; "Nobody wrote ballads as pretty as he did until many years later when Nelson Riddle came along. I think he was really the "Daddy" that people began to learn from in the sense of writing orchestrations. He was really the most prolific of his time."

Here's to the magic of wonderful music courtesy of Sinatra and his great orchestrators/arrangers in these recordings: Axel Stordahl, Sy Oliver, Heinie Beau, Ray Conniff, Norman Leyden, Mitch Miller, George Siravo, Alec Wilder, Jeff Alexander, John Guarnieri and Percy Faith. And not to mention the special contributions of his guest musicians: Nat King Cole (piano "Sweet Lorraine"), Johnny Hodges (alto sax "Sweet Lorraine"), Coleman Hawkins (tenor sax "Sweet Lorraine"), Dinah Shore (duet "My Romance"), Felix Slatkin (violin "Always") and Ray Charles Singers ("I'm A Fool To Want You").

The songs in these CDs are the very same songs that launched the bright career of the Chairman of the Board. These are the original recordings that speak of simple elegance and honest-to-goodness interpretations devoid of any technical tricks.

To any serious Sinatra collector, this is an essential add-on.

"I adore making records. I'd rather do that than almost anything else." ~ Frank Sinatra ~