5 comments about The Dawn of Doo-Wop.

1. This collection really ought to be called "The Roots of Doo Wop," as it reaches back quite a bit farther than any point that could reasonably called the dawn of doo wop. For example, the song most commonly cited as doo wop's first, Sonny Til and the Orioles' "It's Too Soon To Know," turns up only on the second disk. Even among the songs recorded several years after that one, most don't quite fit into the genre. All the essential elements are there (except for the nonsense backing vocals in most cases), but they haven't quite gelled into what we now know as doo wop.
   
   That said, doo wop fans are likely to enjoy what they do find here all the same. It's a nice sampler of early black group harmony, reaching back as far as 1940 and featuring giants of the pre-rock era such as the Mills Brothers, the Ink Spots and the Ravens, along with plenty of lovely performances from more obscure groups. Interestingly, even among groups represented here that did make some doo wop records (notably the Five Keys and the Robins), most of the selections included here are better described as group harmony than doo wop. The one clear exception is the Clovers' "Fool, Fool, Fool." Its presence at least shows how the various elements heard in the other songs finally came together. One other distinction is the adult nature of many of the songs, particularly the Larks' selections such as "When I Leave These Prison Walls" (yes, a true story).
   
   Overall, this set lacks the innocence and exuberance of most doo wop collections, but it shows where those essential elements came from. It will probably appeal to most doo wop fans the in same way those rare early recordings on your favorite band's box set can be appealing.



2. The Dawn of Doo-Wop doesn't really have too many true Doo Wop songs on it but instead focuses on the R&B and pop vocal group harmonies that laid the groundwork for the 50's Doo Wop explosion.
   The songs on this set date from 1940 to the early 1950s and feature many seminal groups such as the Inkspots, the Mills Brothers, the Orioles, the Ravens and many others.
   There are many obscure songs here and the sound quality is very good.
   Also included in a nice booklet of liner notes jam-packed with information.
   This is another Proper box set that excels in quality and value.



3. This is a good collection of often obscure songs and artists. Unfortunately, the sound quality is terrible. Every pop and hiss is included and really detracts from the listening experience. It seems to me that if Proper thought enough of this material to package it they would have put in at least a little effort to clean the sound up. I won't order any of their other collections as I have my doubts that the quality would be any better.



4. This is a spectacular, if mis-named collection of early group harmony gems. Out of 100 sides, there isn't a real Doo-Wop in the bunch. But it's certainly a bonanza for fans of the "roots" of R'nB harmony groups. Almost all of the "Grandfather" groups, & several of the "Fathers" are represented, with a few omitted, such as the Hollywood Flames, Cats & the Fiddle, Clovers & Brown Dots. I have over 5,000 records in my personal collection, but only 6 or 7 of these sides, all on 78's......I loved it, & the price is definitely right......D-J



5. This is an intelligently constructed overview of pre- and early
   doo wop from the 1940's and early 1950's with a first class 52 page booklet and 100 songs on four cd's with excellent sound quality. You get the superstars of classic group harmony--the incomparable Five Keys on Aladdin, still the heavyweight champions of the genre;the excellent Swallows on King, Larks on Apollo, early Orioles, Ravens, Robins plus many rare and obscure items never before on CD like the Lewis Bronzeville Five and many more gems for fans and collectors. This is the finest box set in the genre so far, and at an incredible price--about one-third the cost of the Rhino boxes with a similar number of cuts. Check out other Proper boxes of similar bargains for blues, R & B, Jazz and Country. My highest recommendation.

1 comments about Original Source.

1. Amazon's review calls this a budget release, which may be a bit misleading. This is the exact equivalent of any of the JSP blues boxes. The packaging is very cheap, but the music is major-label quality and remastered(just like JSP). This has everything T-Bone recorded from 1951 back. The major downside(if there is one) is that it ends abruptly in 1951 in the middle of his tenure with Imperial. He was with that label from 1950 through 1954, and this collection has the first half(or so) of that output. There is no real reason to end it here when this could have been a 5-CD set including all the Imperial material. His entire Imperial output is available on an excellent 2-CD set, but the first disk, and the first couple of songs on the second disk of that set overlap with the last disk and the end of the third disk of this set. If you don't buy both sets, you will have the blues when you hear what you're missing!!!!!!

5 comments about Beethoven: Piano Sonatas.

1. 
   Being used to heavy weight renditions of Beethoven Sonatas by Russian masters like Richter, Gilels, Vedernikov, Neuhaus, at first listening I had an impression that Barenboim's Beethoven is a little too light-weight, especially earlier sonatas, but after repeated listening I was quite taken by the noble beauty and delicacy of his playing. Waldstein, Moonlight & Pathetique Sonatas are exceptionally well played with refinement and inspiration.
   
   Only thing I can not stand in this set is Appassionata Sonata played like Chopin Nocturne, which made me nearly fall asleep! I like unpredictable and uncompromising Beethoven played with extreme contrasts by Richter and Gilels, but Barenboim's interpretation was a revelation and quite refreshing experience to listen to this set.



2. Altho richter plays each movement slightly faster than I would, if I could, his understanding and mastery of Beethoven's polyphony makes this a marvelous performance. I have yet to hear anyone provide such a clear exposition of the them and its development in the fughetta in the first movement. And as for the last movement--wow! He understands, or understood, the deep drama essential to that great fugue and its extraordinary resolution. All in all, a wonderful recording.



3. If you like in your Beethoven:
   
   1. Slower tempos.
   2. More rubato.
   3. Beautiful Tone.
   4. More depth.
   5. Less Intensity.
   6. Digital Sound.
   
   Then this is probably the set for you.
   
   If you don't, then PLEASE try Gulda's set for about $25 dollars less on Brilliant Classics. His tone is nice but he doesn't have any of the above qualities. I have both of these sets and like about a third of Barenboims interpretations, while I enjoy more than two thirds of Gulda's.



4. First the positive:
   
   1. Excellent Sound.
   2. Great Beauty of tone.
   3. Great price.
   4. Many moments of brilliance. (His Pathetique for example).
   
   Now the Negative:
   
   1. Often Lacks Energy.
   2. Often Played too slow.
   3. Too much Barenboim, not enough Beethoven. (overinterpreted)
   
   To make it clear, I loved his "songs without words" (also on DG), and at first loved this set. With repeated hearings it became clear that the above issues necessitated a replacement. The real problem is consistency, when he's on he's ON, but when he's off, boy is he OFF!
   
   Annie Fisher was recommended by my Music History professor and many others, so I will entrust this glorious music to her. Although over 100 bucks, I now love this music enough to want to have a great set. By the way a complete set by Backhaus is available, as is a cheap two fer of his Beethoven.



5. I got a tape of Daniel Barenboim that had only 4 Beethoven Sonatas on it and it was delightful. I never enjoyed listening to them as much as when Daniel played them. I got this complete collection many years ago and it has been a treasure ever since. One of the neat things about it is that it is like an old record collection. There is a small cardboard box and each CD is in a cardboard sleeve just like a record box set! The fidelity is great and I believe this is a must have for Beethoven lovers!

5 comments about Live Phish Vol. 14: 10/31/95, Rosemont Horizon, Rosemont, Illinois.

1. I went to this show and it still ranks in the top 3 concerts that I have ever been to. There are moments in this show that are still etched in my mind nearly 12 years later...
   
   Aside from the Quadrophenia set there were many great performances at this show. Every set was very solid and had lots of energy.
   
   I will never forget when the second set started with the storm and waves...I knew immediately what they were going to do. As they moved more into it and even into "The Real Me" there were still younger "kids" looking around not sure what album it was. I was 30 and this is the first time that I truly felt old. I suspect that is was obvious I knew what album it was because this guy came up to me and asked "dude, what album is this?"
   
   They did such a great rendition of the Quadrophenia, I was really floored. I disagree with the earlier negative comment about Fishman singing "Love, Reign O'er Me". This was absolutely the right choice. The emotion that he had and the reaction from the audience still gives me goose bumps thinking about it all these years later...it was so intense. I could have left after the second set and been perfectly happy.
   
   When they came out in the third set and did the 40 minute YEM I was speechless. After they finished the encore I really was in awe...



2. 
   I have very mixed opinions about these Phish Halloween live releases. First off, kudos to the band. I have to appreciate any band dedicated to its audience enough to rehearse up an entire albums worth of music for a single show. And it's a clever concept, having the band go in disguise on Halloween not via costumes but by covering a classic album by another band. But here's the down side: The actual music is not that good. The problem is, constrained by both the amount of material they need to learn as well as their attempted fidelity to the original, a band like Phish, appreciated for their improvisatory skill and energetic style, is not playing to its strength. I was beside myself with anticipation prior to hearing Phish covering the Beatles White Album (10/31/95, Live Phish Volume 13). But what I ended up getting was something a little less than the Beatles White Album itself and a little less than Phish playing Phish.
   
   However, of the series, this one was my favorite. On October 31st, 1995, in my old backyard of the Rosemont Horizon, Phish played the Who's Quadrophenia, and it does not disappoint. Something about this Who album translates well to Phish plus horn section.
   
   Even minus the Quadrophenia, this is a live show worth owning. In all fairness to Phish, I should have mentioned before that they do play a generous amount of their own music before and after the Halloween cover album in these shows. Volume 14 features a marathon You Enjoy Myself, A Day in the Life, My Generation (A Who cover but not part of Quadrophenia), a nice Sparkle into Free, and Divided Sky. Buy it and enjoy. Gotta go, nighty-night.



3. The Halloween of 95 had Phish with the major task of finding a new musical costume, and it seems that Quadrophenia was the perfect choice. One of my favorite musical costumes of all time, it was an energy-filled night with a mixture of The Who as well as Phish classics. "Icculus" "Run like an Antelope" as well as "A Day in the Life," and a bluegrass "My Generation" help this halloween to be one that should be treasured!



4. Phish's Halloween 1995 concert is a great show. It has an excellent first set, highlighted by Trey's jazzy solo in "Ya Mar" and a sweeping "Free." The group's famous spoken word pieces "Harpua" and "Icculus" shine throughout. Unfortunately, I can't comment much on the Quadrophenia songs because I am not familiar with the album, although they are very well performed with the Phishy twist to them, although extended improvisations are missed. The 10/31/98 show featuring the Velvet Underground's Loaded was better in my opinion, largely because I am familiar with the tunes on Loaded, but Phish jams them out on that show.

   What I can comment on, however, is one of the crown jewels in Phish history: the epic 40:10 YEM. Yes, I paid 25 bucks for this 4-disc album, but hearing rumors about that YEM made me buy it. It lived up to every expectation and more. Throughout 40 minutes, Phish explores the heights of manic, speed-fueled guitar jamming (listen to the audience go completely nuts around the 15-minute mark) to the depths of space to monolithic blues-derived slow rock. The group's entire history summed up in less than an hour. Equally legendary is the 12/29/94 David Bowie, which is fortunate enough to recieve release in this series.

   The show closes with an amusing (if predictable) cover of "My Generation," featuring one Jonathan Fishman gleefully trashing his drum kit (surprise!) Kieth Moon-style. Fun way to close the show. But if not for the YEM, this would have been simply a very good Phish show. The YEM made it a show that would go down in Phishistory. 'Nuff said.




5. Quadrophenia is one of the most complex albums made, and also one of the best. I am honored, as a who and phish fan, that phish did a cover of quadrophenia, my personal favorite who album. I know it was tough for trey to sing as daltrey and play guitar as townshend at the same time, but fishman had the hardest job of taking keith moon's job. Either way, phish played awesome and if you are a phish or who fan, buy this album

5 comments about Beethoven - The Symphonies / Augér, Robbin, Rolfe Johnson, Reinhart, AAM, Hogwood.

1. In the early 1980s I was indifferent to the use of period instruments in the music of Beethoven. I was very enthusiastic, to be sure, about the use of period instruments in Baroque and Renaissance music and I was rather partial to the sound of the Fortepiano in Mozart and Beethoven. I owned many of Collegium Aureum recordings of Mozart, J. C. Bach and Beethoven recorded in the 1970s and I enjoyed them a lot. I have a soft spot for the Collegium Aureum recording of the Triple Concerto of Beethoven, it is a favourite of mine and I've really never heard a recording I prefer over it. Strange, isn't it that Gardiner, Hogwood, Immerseel, Levin, Brüggen, Norrington, Herreweghe and the other HIP conductors and performers haven't recorded it?
   
   I digress. Whilst walking down Chapel Street in Prahran in Melbourne one sunny Sunday afternoon with a girlfriend I walked into a music shop. I'd recently bought a CD player and I was on the look out for some good Classical recordings. I noticed the Hogwood recording of the Eroica and I had a listen to this recording on the headphones. I was astonished. In the slow movement it was as if I could hear the orchestra actually breathing. The use of fortepiano basso continuo also impressed me with the subtle colours it gave to the orchestra. Yep! I bought the disc on the spot and the rest, as they say, is history.
   
   I love the Hogwood set because he does as little standing in the way between you and me, the listeners, and Ludwig van Beethoven, the composer, as possible. Does this make any sense? Perhaps not. However, Hogwood seemed to entrust Beethoven's written music with his players and he lets this music be itself.
   
   The performances are exciting and moving. I like every moment in this set except the tempo of the March section of the 4th movement of the 9th Symphony, which uses the erroneous metronome mark (the tactus should be halved).
   
   This recordings stands up incredibly well against the more recent recordings by Gardiner and Brüggen, for instance, although I think many may prefer Gardiner these days (and Brüggen's recordings are very, very good, too).
   
   The best HIP/period Beethoven symphonies? Hard to say, but I do like the sets by Norrington, Hogwood, Gardiner, Goodman and Brüggen. As I said, I have some very warm feelings of affection for Christopher Hogwood's pioneering recordings of the Beethoven Symphonies. I bought this repackaged set a few years ago and I return to it often.



2. This album is a reissue of the recording done in the eighties and, I believe, is still among the best interpretations of Beethoven's symphonies. The performance is amzingly crisp and clear. You will not regret if you buy this set.



3. I'm one of those Beethoven fanatics who has all the period recordings of Beethoven's nine symphonies, or most of them anyway. I've got Norrington, Gardiner, Bruggen, the Hanover Band and Hogwood. Between the five, I could assemble a definitive "period" set. They all have strengths and weaknesses, but Hogwood and his forces could hold their own over the course of the nine. I enjoyed symphonies 1, 2, 4, 5 & 7.
   
   If you are looking for one good set, with solid sound at a great price, this is it. Nevertheless, the Hanover Band recordings on Nimbus, originally won me over. Before them, the modern orchestra frankly bored me with their Beethoven, and I hadn`t heard the other period specialists yet.
   
   My favorites ~
   *The Hanover Band
   *Franz Bruggen and the Orchestra of the Eighteenth Century
   *Christopher Hogwood and the Academy of Ancient Music
   *John Elliot Gardiner and the Orchestre Revolutionnaire et Romantique
   *Roger Norrington and the London Classical Players



4. This set is excellent. I love Hogwood and his approach to these symphonies. Instead of playing Beethoven according to contemporary orchestral practices, Hogwood brings us back to the correct size and sound of Beethoven's day, and in doing so delivers one of the most interesting and lively recordings of these immortal symphonies. The Beethoven one hears on these discs is an exciting one, the music is vibrant, alive and...yes, even fun at times! Hogwood plays Beethoven the way he should be played, with an authentic orchestra and authentic timings. The instruments sound fresh and alive, and the quality of the recording is excellent, the music sounds clean and direct. I highly recommend this incredible set, and I want to say thank you to Mr. Hogwood for creating my favorite set of Beethoven's symphonies!



5. There is a growing consensus among professional musicians, musicologists, and aficionados that the use of "period" instruments in performances of the Classical repertoire yields an authenticity that is not realized when modern instruments are used. This sparkling cycle is more grist for the mill. Clarity, balance, and rationality - the hallmarks of the Classical style - shine through here.
   
   Perhaps listeners raised on Karajan and Klemperer will be a bit jolted by the sound here. There are no theatrics, no fussy bombast, no histrionics. But for admirers of texture, the luxury of being able to hear the subtleties of orchestration will have a narcotic effect. To take but one example from this cycle, the fugal development of the final movement of Eroica is the most clear and balanced version I've yet heard.
   
   Even so, the war between the "purists" and the "revisionists" will rage on, but thanks to this outstanding recording the former have gained yet another battle victory over the latter.

5 comments about Porgy & Bess (Highlights).

1. When I got the product the third disk titles were all in an asian looking language. I couldn't read a thing it said. Vendor took the item back, and gave me a refund, I was well satisfied with that...but wished he had had the one with all english, it looked like a good album.



2. I purchased this in preparation for seeing the opera in Los Angeles in 2007. This version of Porgy & Bess lived up to its billing. It is a beautiful rendering of the opera. What I most appreciated about this version was the well told history of the opera, as well as the inclusion of the libretto.



3. I agree with the positive comments made here about this production and this recording. This is the best recording of the full score that I know. Haven't heard the Simon Rattle recording but did not need to, since I already had this one which is practically perfect in every way.
   
   I have owned at least four recordings of this work, starting with the movie soundtrack, then the 1951 revival because I wanted the hear the `complete' score, and then when it was finally recorded complete in stereo for the first time, I bought the Maazel recording (which contrary to a comment made here was done in the 70's not 1969--I think it was 1976). Maazel's tempos are heavy and ponderous and lacking all humor. Elsewhere it's said, he was not the greatest Gershwin conductor. Too true.
   
   Was lucky enough to have seen this production in NYC with the top cast recorded here (the leads alternated as it was too tough to sing either Porgy or Bess 8 nights a week). It was beautifully done, musically and theatrically. DeMain gets nearly all the tempos just right and that is an important thing for Gershwin. The cast act convincingly and sing beautifully.
   
   I understand that Porgy and Bess is one of record producer Thos. Z. Shepherd's favorite operas and the care he put into this recording shows it. It is a live with appropriate sound effects that reproduce the action of the stage version.
   
   Overall lovely recorded sound, with a wide dynamic range (pre-digital, you can hear a very few tape dropouts that I wish they fixed, but who cares). And it works on record theatrically, because it worked on the stage! According to a musician friend of mine, who did the percussion here, RCA took a while to decide on committing to this recording, despite the rave reviews the production got, but who can blame them since Maazel's recording had just come out a year or so earlier. Lucky they did. So far this production has never been duplicated for getting all the elements, most especially the Gershwin sound, which more often than not is the antithesis of lingering sentimentality, just right.



4. After several years of frustration, my search is over. This is overall the most satisfying complete recording of this opera.
   The first complete set I heard was Maazel's, and while it has much to recommend it, it never truly ignites the way every good opera should. I then purchased the Rattle set, and found it very beautiful, but even less dramatically coherent than Maazel's. It even caused me to wonder, Lawd forgive me, if Gershwin's sense of dramatic timing wasn't inherently flawed.
   How wrong I was. In this set, conductor John DeMain vindicates the work's claim to be a great opera, but never loses sight of the incontrovertible fact that it it is an opera conceived in Tin Pan Alley, and raised on Broadway. Best of all is his expert pacing. DeMain unfailingly seizes the dramatic point of a scene, giving the work a sure structure. Poor Rattle on the other hand seems to be so in love with the music - and who can blame him? - lingering over a phrase here, wallowing in an orchestral and choral wash there, that the music slowly succumbs to Wagnerian torpor.
   Rattle may have a higher quotient of gorgeous voices and a more polished orchestra, but DeMain's performance makes me feel I'm in the theatre watching what must have been a thrilling performance. Bravo!



5. Composer Stephen Sondheim has frequently cited PORGY AND BESS as his favourite calling it "a gift from above." And indeed it is.
   
   And you could not ask for a better recording than this lavish set from the 1976 Houston Grand Opera, lovingly translated to discs by Thomas Sheppard with the same care and dedication he brings to his original Broadway cast recordings.
   
   This album puts you centre stage with extensive use of sound effects and creative use of the stereo spread. The cast is perfection, honed by having performed the show live several times before going into the RCA studios. It's packed with a full libretto and synopsis.
   
   The other "complete" recordings don't measure up. London's is correct but uninspired. EMI's set is well sung but lacks theatricality. All of the elements are in perfect balance on this set.
   
   The old Columbia 1951 album was complete in its day but musicologists have since restored much of the material cut before the Broadway premiere.
   
   Among the highlights discs are the Decca set featuring some of the cast members from both the 1935 and 1942 Broadway productions. A 1950s CD featuring Leontyne Price and William Warfield offers the key arias in a well sung collection. Readers Digest offers excerpts in their Gershwin CD set featuring a woefully bad Porgy, Valentine Pringle.
   
   There are also a variety of Jazz interpretations. A strange 1956 Bethlehem Jazz album with Mel Torme and Frances Faye on Rhino, a highly prized album with Lena Horne and Harry Belafonte, and albums by Sammy Davis Jr and Caremen MacRae, Ella Fitzgerald, and Miles Davis.
   
   Sammy Davis also appeared in the 1959 Samual Goldwyn film version with Sidney Poitier and Dorthy Dandridge. The film was withdrawn from circulation by the Gershwin estate in 1974 and has rarely been seen since. The Columbia Records "soundtrack" album was briefly available from SONY on CD but it too has been withdrawn. (Strangely, contract problems prevented Sammy Davis Jr from appearing on that album and his songs were redone for the record by Cab Calloway!) It is still the preferred version of "highlights" from the score for many listeners who enjoy the well-sung program and lush orchestrations.

4 comments about Fritz Wunderlich: Great German Tenor.

1. I just finished again listening to this CD that I've had for maybe fifteen years. I most often prefer complete operas, but of course those are not always available. For me, Fritz Wunderlich can do not wrong, although a very knowledgeable friend of mind objects to his German. I think his German is top drawer, but it's not my native language.
   
   Il mio tesoro... has never been high on my list of arias, but when Wunderlich sings it as Folget der Heiffgeliebten... it took me many hearings before I stopped crying at the first two notes. Tearing is one thing, crying is a bit silly, but there it is.
   
   His exquisite singing is only once slightly under pitch (I really don't care; I only remember it). Moreover, he has friends on this CD -- Grummer, Lorengar, Prey, Frick...
   
   I think I have everything he recorded that appears on CD and I also have a DVD of the Barber -- in German, of course. My only discomfort is with Koeth who is a good singer, but of course a lyric and not a mezzo or even close to one.



2. Fritz Wunderlich had it all -- an incredibly beautiful voice and the artistry to use it with drama or tenderness, as the music called for. He also had genuine emotional and musical integrity. He was almost certainly the greatest lyric tenor of the recorded era. Regretably, he died in an accident in his mid 30s. But, although his recorded career was short, he left a surprisingly large legacy of outstanding recordings, many of which are included in this 3-CD set. Some people may be put off because Wunderlich sang famous Italian, French, and Russian arias in German. PLEASE don't let that keep you from acquiring these recordings. When you hear Wunderlich sing, the language in which he is singing will seem inconsequential. Only the incredible beauty and artistry of his singing will matter. This man was special and so is this collection.



3. Fritz who? You may well ask, for the great Fritz Wunderlich died before he'd ever achieved true international stardom. But to my ears, at least, he possessed the most beautiful lyric tenor voice on record. He had it all - superb musicality, power, warmth, and a gorgeous and immediately recognisable timbre. He could also be exciting when he wanted to, as his tour de force performance of Granada (available elsewhere) thrillingly proves. Wunderlich's death in 1966 - a few days short of his 36th birthday - deprived music lovers of a fantastic talent.
   
   
   
   This 3CD set reinforces that loss. Among the many highlights included here is an unforgettable Folget der Heissgeliebten (Il Mio Tesoro) from Don Giovanni. It matters not a jot that Wunderlich is singing in German rather than Italian. He knew how to overcome the relative harshness of the German language with his poetic phrasing and honeyed diction. Here his breath control is amazing, and his passion transforms the character of Don Ottavio from a one-dimensional fop into a red-blooded hero. Tremendous stuff.
   
   
   
   But for me his greatest achievement is his rendition of the aria Komm, O Holde Dame from Boieldieu's La Dame Blanche, featured on Disc One. Play this first, and you'll be entranced by the beauty of Wunderlich's faultless legato, then thrilled by the intensity and energy of the conclusion. (Admirers of Mario Lanza will note how similar Wunderlich sounds here when he reaches for the high notes.)
   
   
   
   Showcasing Wunderlich's achievements in both opera and operetta, this set is the perfect introduction to one of the greatest tenors of them all. If you enjoy this, I'd also recommend his Deutsche Gramophon 5-CD set (simply entitled "Fritz Wunderlich"), which includes a sublime Pearlfishers Duet with Herman Prey and the aforementioned Granada.



4. This three CD set of Wunderlich is a gem. It features one of the most beautiful pure lyric tenor voices of the century at its absolute best. Though Wunderlich sings all the arias, including the Italian and French ones, in German, his innate musical understanding of the composers and the pieces conveys a musical and emotional authenticity rarely matched in other recordings. Listening to these arias, one can understand why Wunderlich's singing is described as "German bel canto": Wunderlich combines the German fine sense of musicianship, musical intelligence, and style with the Italian attributes of purity and evenness of timbre, open throated singing and excuisite legato phrasing. Just listen to the perfect rendition of "Komm holde dame" in the first CD, with its effortless, floating high notes and even bel canto style singing. Compare this with Wunderlich's interpretation of Pinkerton in the duet and aria from Butterfly, with its perfect diction and phrasing, singing that displays a complete understanding of Puccini's melodic line. And, for sheer joy and delight, to feel good about yourself and humanity, listen to the operetta arias of the third CD. This is the greatest recording of operetta arias in the world. Wunderlich loved to sing these songs and brought an enthusiam and flair to these arias that is simply infectious for the listener. If you've never heard Wunderlich, this is your golden opportunity to acquient yourself with one of the greatest voices of the century.

4 comments about Aces Back to Back.

1. To me, Roland Rahsaan Kirk reached his peak with "The Inflated Tear". After that, even though he still came out with some classic music, he tended to be somewhat self indulgent (i.e. using sound effects, spending too much time with dated hip talk on live recordings). If his music hadn't sold so well, he'd be classed as an outsider artist and he certainly has fans within the indie rock world such as Sonic Youth (considering that live, Kirk's performances would involve smashing up a chair, compared to many sedate jazz artists, he could be classed as punk, within the jazz community). As for these four albums, they have aspects of free jazz, hard bop, dixieland, ragtime, gospel, blues a full orchestra on some tracks, uncategorable experimentation including the use of home made instruments and as mentioned weird sound effects. Still within the realm of free jazz, I find this a lot more interesting than free jazz that is strictly avant-garde classical and are "compisitions" or tuneless blasting not grounded in anything musically (though that can be fun at times). I think that by including forms of jazz that were considered dated at that time along with the free jazz/playing 3 saxophones at a time out there aspects, Roland Rahsaan Kirk was trying to say that his music was not trying to pigeonhole itself but was open to all forms of jazz and that jazz was not evolutionary but that all styles from all eras were equally valid. That said "Left and Right" is the most solid album (even with the orchestrations), "Rahsaan, Rahsaan" is a classic concert. The other two albums, "Prepare Thyself.." and "Other Folk's Music" are not quite as good. However, no one can contest the statement that Kirk was probably the most unique jazz musician in history. His music takes some getting used to but once you readjust your sensors, you can find a lot that is rewarding.



2. Over orchestrated? I don't think so, but that's not the issue. This is a must have for any "long time fan" of Rahsaan. I still have all of these on vinyl and will surely be adding this box set to my collection too. Worth it just for Rahsaan Rhasaan although, Left & Right and Other Folks Music are good too. Even Stanley(the grouch) Crouch wrote a positive review on the LP version. Where can you get four discs for a deal like this?



3. I think that this collection of titles is quite unique for rahsaan. They are a bit different from the Mercury recordings and not exactly straight ahead, but hell, I don't think rahsaan was very straight ahead for most of his life. This collection is VERY much worth the money for four albums and I LOVE THEM... actually, I love every one of the 40 or so Rahsaan discs I have on vinyl and CD. He is one artist that you should have every little piece of his and I intend to do just that. I also highly recommend the Mercury box set. Buy it as well, but remember, you'll still be missing alot of rahsaan. dfielding@figleaf.com



4. As a longtime R.R.Kirk listener and fan, this was a big disappointment to me. I had never heard of any of the four albums on this reissue, and there's a good reason. Kirk worked best in small groups; heck, he WAS a group. Most of the material here is overorchestrated, in an embarrassingly dated way. There's good stuff here, but you have to pick through a lot of mediocre-to-bad material. If you're looking for bargains, get "Dog Years in the Fourth Ring".

2 comments about Settin' the Pace.

1. The kings of bop were Dizzy and Bird - on trumpet and alto, and there were Bud Powell, Monk, Kenny Clarke and Max Roach on piano and drums. It may be true that the tenor sax is just not suitable for bebop, just as the soprano sax is certainly not - but for other reasons. The tenor sound is just too big for the fast flurry of arpeggio notes, that is part of bop playing.
   Dexter Gordon was one tenor player who managed to excell playing bebop without loosing any of the sound qualities of his instrument. His deep and elastic sound was part of the great tenor tradition, yet perfectly modern. I am convinced that the evolution of Sonny Rolling, Joe Henderson and John Coltrane, could not have been what it was without the influence of Dexter's sound.
   It is interesting to compare Gordon with the great Wardell Gray, who is co featured on many tracks - especially the third cd. Gray's harmonic ideas were modern - but rhythmically he was part of the older tradition.

   These recordings, spanning an era between 1943 and 1950, are crucial to the development of bop tenor saxophone playing. They contain exciting live jam session recordings as well as studio recording, and great playing from all musicians involved - Fats Navarro, Gray, Teddy Edwards, Howard Mcgee, Leo parker, and of course Dexter Gordon himself. I recommend the four CD package to anyone interested in the tenor sax and in bebop.




2. As I parse through this collection I am amazed that Proper was able to compile such a complete collection surveying the early years of Dexter Gordon. It's all here, the historic Savoy sides that Dexter led between 1945 through 1947 which include a stellar cast of sidemen such as Bud Powell, Max Roach, Fats Navarro and Leo Parker. There is also the historic Dial sides w/ Wardell Gray and Teddy Edwards that produced tracks like "The Chase" (w/ Gray), and "The Duel" (w/ Edwards). A set containing the Savoy and Dial sides would be fantastic on it's own but Proper has also included a number of other tracks of Dexter featured with the Billy Eckstine Band, Dizzy Gillespie's Sextet, Red Norvo, and Benny Carter's band. Also included is the historic 9/4/45 date led by Sir Charles Thompson for the Apollo label that also featured Charlie Parker! And if that wasn't enough there are 5 lenghty tracks recorded on 7/6/47 at the Elk's Auditorium in Los Angeles and billed as the "Hollywood Jazz Concert". These tracks include Howard McGhee, Trummy Young, Sonny Criss, Wardell Gray, Hampton Hawes, and Barney Kessel and although the sound is not superb on the live tracks, the performances are excellent and give the listener an inside look at what the Central Avenue scene must have been like in the mid to late 1940s.

   All in all this collection is an excellent compilation of one of the true greats of modern jazz.

No comments about 100 Magnificent Melodies.