5 comments about Live Phish Vol. 5: 7/8/00, Alpine Valley Music Theater, East Troy, Wisconsin.

1. I stayed away from this show for a long time since so many fans seemed lukewarm about it. I finally bought it, and am so glad I did. I think this release is an example of why the band doesn't always see eye to eye with the fans. Rumor had it that Trey was really happy with this show, and thus it ended up in the first 6 live releases. Hearing it, you can understand why. It is a solid/tight show! There are few mistakes, and the set-list just flows very smoothly. There are also some great versions of some of their big numbers:
   
   Tweezer-one of my favorite versions. Interesting unique features, such as Trey putting an interesting variation on the key riff in the beginning, and the mellow follow-up to Uncle Ebeneezer (in contrast to the typically cacophony).
   
   Antelope-a very gradual build up until Trey puts himself stuck into an interesting robotic sounding loop that repeats and then KICKS into the final jam (with nice coordination from Fishman).
   
   Piper-one of the best versions I've heard
   
   First Tube-Smoking version of this relatively rare song. When I saw the setlist I wondered how this would ever fit into the middle of a set (seems like a good opener or closer), but the positioning before Llama is perfect-the songs seem to fit together somehow.
   
   And the rest of the show is just solid around these highpoints. I bought the Island tour discs around the same time I got this show. The fans love the Island tour, because of the many highpoints and great jams. In general, those shows are much sloppier than this show, though (since the guys barely rehearsed and hadn't been on tour). This is a nice contrast to those-a very tight live performance with a nice setlist. I can totally understand why the band considered this one of their favorite shows of 2000.



2. Hello
   OK, i own a ton of live phish releases, and in all honesty, Live 05 is the weakest i've heard. Thats not to say its terrible, cuz there are some highlights. The first set comes out firing with pyite and NICU, my soul and poor heart. First Tube is real trippy with trey looping a bunch of stuff. ill placed Llama. so first set is cool, good antelope closer. The second set is kinda weak in my opinion. heavy things is not done well to start off the set. Piper is decent. Tweezer is decent at best. and walk away is really not that good. Twist is decent, silent in the morning is what you expect. I've heard Possum too many times. Suzy is only ok, and tweprise is always fun to hear. so all in all its a decent show. but the thing is this, when compared to every other live phish release, this is really low grade stuff. its not phish at their best. if you buy 04 or 11, there is some epic stuff. 05 is ok, but not that great.



3. ... I can't imagine why of all the thousands of shows Phish has played, the band chose to release this one as one of the FIRST SIX of their live series.

   The first set is sloppy with lots of miscues. Disc two has a setlist to drool over but doesn't live up to its promise. It also features the worse Walk Away ever. Disc three finds Trey tired and uninspired.

   But the thing that's really missing here is that elusive "X factor": An energy and vibe that soaks through the music. It's not something you hear, but feel, either at a live Phish show or while listening to one. It's the reason why we love them as much as we do. Try finding the X factor at a Blink 182 show.

   This is just a regular, run-of-the-mill Phish release. Which of course is better than 99.9% of the CDs on the market. But it only gets two stars from this die-hard phan.

   Look to either side of this release for examples of the X factor. Both Live Phish Vol. 4 and Live Phish Vol. 6 are must-haves and are superb, high energy shows with unique setlists.

   I have always said any Phish show with a Walk Away (like 2/20/93, 5/7/94, and 10/28/98) is a great show. This show is an exception to that rule.




4. I personally have never seen a phish show till alpine 2000. I have been listening to phish since I was in 8th grade. When you hear them on a CD it sounds good, but when your there you feel a different kind of energy and you have to let it out, by dancing any way the music takes you. So maybe just being there was the reason I loved that show so much, but I do think that show was defintly better than other recorded CD's they've come out with. I mean come on PYITE>NICU>My Soul then finishing off the first set with Guyute>Run Like An Antelope. It's just so hard to dis that set!!



5. I have all of the other CDs in this collection and I have to say that this is the weakest of the six volumes. None of the jams really go as far as they should. When each song/jam is over you feel that they should have taken it a little further and much harder. There is nothing about this show that makes me want to listen to it over the other five. Even the Piper>Rock & Roll, which I was looking forward to hearing, was disapointing. Granted, it's still a Phish show, so it's not that bad. Songs like PYITE, Tweezer, Walk Away, Twist, Suzy Greenburg, Heavy Things, NICU, The Horse>Silent in the Morning, and Antelope are on the other live albums and are much, much better. If your thinking about getting this show and you don't own the others yet, re-think your purchase. I recommend vol. 6 the most, but vols. 1, 2, 3 & 4 are great too. I don't like to bad mouth Phish, but I just think that you'll be happier with any of the other shows more that this one.

2 comments about The Original Jazz Masters Series, Vol. 4.

1. Part of this set and some of Vol. 2 of the collection stay in the player nearly all the time. You buy this and you have found musicians that are true masters.



2. This compilation represents all that is good in music. From the heart of Armstrong to the soul of Ellington, this collection is pure to the genre of Jazz.

5 comments about And This Is Maxwell Street.

1. There is a lot of good stuff on this set and the booklet is great. That said, I knocked off one star because I was a little disappointed with this when compared to the Robert Nighthawk cuts that form his "Live On Maxwell St.-1964" CD. That one is an absolute masterpiece. This one is not nearly as consistant. Sometimes less IS more.



2. Even the most casual fans of classic Chicago blues need to own a copy of slide guitarist Robert Nighthawk's 1964 album "Live On Maxwell Street".
   And those slightly more obsessed will want to check out this wonderful document, the soundtrack, if you will, to Mike Shea's 1964 documentary "And This Is Free". It features all of Nighthawk's recordings, plus another 18 cuts by artists like Johnny Young, Carey Bell and Big John Wrencher, and it is one of the most impressive live blues albums you'll ever come across.
   
   The well-written and exceptionally thorough 62-page (!) booklet includes information about every recording, artist's biographies, interviews, pictures, and all available recording information, and the sound is surprisingly clear and full considering the unusual circumstances. You can sometimes hear a car driving by, a street preacher pops up for a few seconds, and the chatter of the crowd is audible in the background.
   
   This two-hour collection is a rare treat indeed. You can just pop the discs in you CD player and turn it up. No need to program anything out...there is barely the slightest dip in quality along the way.
   Disc one opens with singer/guitarist Johnny Young's excellent, gritty rendition of "The Sun Is Shining", all clattering drums and simple but effective boogie-styled rhythm guitar, and one-armed harpist Big John Wrencher's tough "Can't Hold Out Much Longer" is equally wonderful. You can also hear John Wrencher jamming with guitarists Robert Nighthawk and Little Arthur King on his own "Lucille", and inquiring about the drinking habits of his fellow musicians: Tea or coffee? Apparently Robert Nighthawk was a coffee-man ("coffee" meaning whiskey. "Tea" was wine).
   
   Other highlights include "All I Want For My Breakfast" by Johnny Young, and pretty much everything by Robert Nighthawk, including the menacing "Cheating And Lying Blues", an up-tempo "Take It Easy, Baby", and a couple of songs not included on Nighthawk's "Live On Maxwell Street". One is a snippet of Robert Nighthawk doing "That's All Right" (the Jimmy Rogers tune, not the one by Arthur Crudup that Presley recorded); "Honky Tonk" is a swaggering instrumental boogie, and Nighthawk also lays down a thumping "Dust My Broom" which was mysteriosly omitted from previous issues of this material.
   
   And disc two is equally great. A lively performance of J.B. Lenoir's infectious boogie "Mama Talk To Your Daughter" has previously been credited to its composer, the man with no first name, but nothing indicates that Lenoir was present when this music was recorded, and this repacked and expanded edition of the Maxwell Street tapes credits Robert "Big Mojo" Elam as the singer. He supposedly got his nickname because of his ability to pull off a rousing rendition of Lenoir's "Mojo Boogie".
   Harpist Carey Bell, who later became a member of the Muddy Waters band (and is still playing), smoulders on the instrumental "Carey'n On", little-known singer/guitarist Arvella Gray does a thoroughly authentic sounding solo performance of "John Henry", and the listener is treated to a couple of gospel numbers:
   The James Brewer Gospel Group do a wonderful swinging "When The Saints Go Marchin' In", and a rendition of "Fly Away" which is made all the more remarkable by a very enthusiastic harmony vocal by one of the male singers! Also, the (unfortunately truncated) "I Shall Overcome" by singer/guitarist Fannie Brewer is just beautiful.
   
   But, again, the main attraction is Robert Nighthawk (or "Night Hawk" as the liner notes call him). Nighthawk's magnificent 8 1/2 minute medley of his two biggest hits and best-known songs, "Anna Lee" and "Sweet Black Angel", has been restored...the previously issued version which edited out two minutes of instrumental bridge, and his single-string solo halfway through the supremely tough "The Time Have Come" is quite mind-boggling. Nighthawk was as accomplished a lead guitar player as he was a slide slinger, and his single-string picking is pure liquid fire.
   The slow grind of "Love You Tonight" is another previously unreleased number by Big John Wrencher, and Robert Nighthawk's powerful rendition of Big Joe Turner's "Honey Hush" takes Turner's bouncy jump blues into new territory.
   
   The dozen songs by Robert Lee "Nighthawk" McCullum do indeed form the centrepiece of this collection, but literally everything is worth a listen. This is one top-notch blues box set...great annotation, great music, nicely packaged. Five stars and no reservations at all.



3. I am grateful that, in my lifetime, fate has given me the opportunity to discover the pure talent and outstanding blues recordings in AND THIS IS MAXWELL STREET. In researching my family's history, I am overwhelmed by Arvella Gray 's (my father's only male sibling) significant contribution to this genre.



4. At last! What a pleasure it is finally to see the original recordings from Mike Shea's 1964 Maxwell Street documentary "And this Is Free" available in the North American market (also now in Europe on the Catfish label as KAT3D1) with its in-depth liner notes in English for the first time-more than 60 pages! (these recordings first appeared in 1999 in Japan as P-Vine PCD 5527/28). Both this set from Rooster and the Catfish release are identical to the P-Vine release with the exception of the language of the liner notes and the addition of a third bonus disc, which contains the entirety of the 44-minute interview of Robert Nighthawk conducted by guitarist Michael Bloomfield as part of the "And This Is Free" documentary project.

   And what extraordinary music it is. This disc contains the first known recordings of Carey Bell (who was about 28 in 1964). It contains one of the very few glimpses we have of Robert Nighthawk on the street. Highlights include his growling guitar work on "Cheating and Lying Blues;" some of the most extraordinary electric blues guitar playing ever recorded on "I Need Love So Bad;" Nighthawk doing the two songs that brought him his first real fame--"Annie Lee" and "Sweet Black Angel;" and a lively rendition of "Take It Easy, Baby." Not to be overlooked is fine harp work by Carey Bell, and perhaps the most dynamic and moving performances by one-armed harpist Big John Wrencher that were ever recorded. Here we also get gospel performances by James Brewer, a fine "John Henry" from Arvella Gray (so much livelier than the stiff version on the Swedish Radio tapes also recently issued), and rousing, raw gospel shouting from Carrie Robinson and other performers. Another highlight is two fine songs from Johnny Young. In short, this music captures the excitement of raw, live blues on Chicago's Maxwell Street in its heyday.

   Interspersed between the songs are snippets of street preachers, hawkers, hucksters, and the voices of the musicians between numbers. We also hear car horns, conversations, street noise, and the enthusiastic shouting and clapping of the audience on tracks such as "Dust my Broom" and two jams that are perhaps the wildest, most spirited live blues performances ever captured on tape. The producers have attempted (and succeeded, in my view) to recreate the experience of a Sunday on Maxwell Street in the 1960s. Revel in it.

   (...) "And This Is Maxwell Street" is the real thing. Don't confuse it with the Rounder disc. My advice is to take your Rounder version to the used record store and replace it with this one.

   While this raw, raucous, record of the blues in the streets of Chicago will not appeal to casual listeners who want to turn on some easy background music and relax, it should make any serious blues fan sit up straight and listen hard. This is a slice of what the blues was really about during this period. The interview disc is icing on a very fine cake.

   Highly recommended. Nominated this year for a W.C. Handy Award and surely the right choice for best historical release.




5. While efforts continue (bluesman Jimmie Lee Robinson has been on a hunger strike) to preserve the remaining portions of the historic Maxwell Street market area, Rooster Blues has released a three disc compilation, And This is Maxwell Street that presents music that was recorded as part of the making of the film, And This is Free. Some of the music from here was issued on Rounder on lp and cd as Robert Nighthawk, Live on Maxwell Street, which has been repackaged and reconfigured with a some previously unissued selections and including tracks attributed to J.B. Lenoir, Carey Bell and Johnny Young, The Rooster Blues has a full two hours of music and includes also selections from Little Arthur (Red Top/Ornithology which is deleted from the latest version of the Rounder); Big John Wrencher; Arvella Gray, Carrie Robinson; and James and Fannie Brewer. Additionally, Mama Talk To Your Daughter, credited to JB Lenoir on the Rounder is credited to Big Mojo Elem here. And there are several Nighthawk performances here that are not on the Rounder including a Dust My Broom that includes Mike Bloomfield on guitar (possibly being Bloomfield's earliest recordings). The full range of music here is quite powerful and entertaining including such selections as Nighthawk's updating of Dr. Clayton's Cheatin' and Lyin' Blues, the fervent gospel singing of Carrie Robinson as well as James and Fannie Brewer, street singer Arvella Gray's vigorous renditions of Corinna, Corinna and John Henry, and one armed harp wizard Big John Wrencher's Lucille. Several tracks spotlight Carey Bell, with I'm Ready perhaps being his first recorded vocal. Portions of vendors' sales pitches and street preachers' sermons are heard here as well. Providing some context to the recording. The Rounder has a portion of Mike Bloomfield's interview with Robert Nighthawk which is heard in its entirety (nearly 50 minutes) on the third disc of the Rooster Blues. My advance copy of the Rooster Blues lacks the booklet that should be accompanying it so I cannot comment on this aspect of the package, but because of the more complete reissue of this historic material, clearly is preferable, and a contender for vintage reissue of the year.

4 comments about Mendelssohn, Brahms, Dvorak: Piano Trios.

1. The recorded sound of this set is a little muddy. However, that cannot stop me from giving it top marks for superb individual and ensemble playing, coupled with total agreement in musical expression from all three musicians. The Dvorak "Dumky" trio is possibly the weakest of the set, but only because I prefer the more idiosyncratic interpretations of some other groups (e.g. Trio Fontenay and some others I can't remember).



2. Since every review here talks about the Mendlssohn I'll talk about the Brahms. The versions here are well played and highly enjoyable. The recording quality is good although occasionally distant. My only problem is with the Dvorak trio. This version doesn't thrill me for some reason but this may be a matter of personal taste. The stand-out thing here is Laredo's great sound. This is quite a good bargain too.



3. Absolutely nobody has gotten to this level of perfection recording the Mendelssohn trio. The two other trios are superb as well.



4. Don't let the budget price fool you. This is the best example of the Mendelssohn Trios performance that I have, including the Eugene Istomin, Leonard Rose, Isaac Stern trio, which sounds more mechanical to my ears.

   The origional vinyl disk for the Mendelssohn was full price as far as I can remember, this is a really good deal, the Brahms and the Dvorak are OK but the Mendelssohn itself pays for the set.

2 comments about Jazz Moods: A Great Day of Jazz.

1. For the price, this is one of the better box sets of Jazz that you can purchase. The morning and evening CD's are excellent and a pretty easy listen.
   The afternoon CD or Disc 2, just did not do it for me. It was a little too upbeat and at times made me think of Mambo. That being said, it is still a good CD to listen to.
   The great thing about these CD's are they are an inexspensive way for the novice Jazz listener to experience the many different styles and songs of this genre.
   Pick this CD up, it is well worth the [money]



2. Concord Jazz presents a 3-CD collection that's right for any day, or time of the day. Look at these titles you can choose from...Disc One: "Morning Cup Of Jazz", is simply rhythmic, high-energy collection that's sure to get your coffee and adrenaline going all morning...Disc Two: "Jazz In The Afternoon", take the easy-going jazz, taking the carefree road for the day... Disc Three: "Jazz At Day's End", winding down at the end of the day, has the right combination of swinging and relaxing tracks. Stand outs: "FLYING SOUTH" with Pete Escovedo, is a wake-up call..."ISN'T THIS A LOVELY DAY?" features Carol Sloane, great mid-day tune..."YOU GO TO MY HEAD" with Mary Stallings, never sounded better.

   Concord one again, has brought to you thirty selections of quality jazz for only pennies, this exceptionally priced box-set is a collection for any lover of jazz, or music that makes the moment...pick one up, you'll be happy you did!

   (Total Time: Disc One: 61:32 on 10 Tracks & Disc Two: 63:09 on 10 Tracks & Disc Three: 56:06 on 10 Tracks)...Concord Jazz CCD3 5215...(2000)

5 comments about It's Easy to Remember.

1. I don't understand the reviews on here that say the sound is awful. I've loved this collection from the first moment I put the CD in my stereo. The sound quality on some of the earlier recordings isn't exactly up to modern digital audio standards, but you can only do so much with a song recorded on 1930's era sound equipment.
   
   All in all, I would say this is the best Bing Crosby collection for the price.



2. This was a splendid collection of great Bing Crosby songs. The earliest songs are the greatest. Great listening.
   Dale Nichols



3. I gave this set to my wife for our anniversary, and it really added something special. I popped in a disc as we sat down to dinner. After a few peppy numbers, including some talent from the Andrews Sisters, along came "You Belong to My Heart." It was perfect!
   
   My wife was pleased with the number of great songs included in this set, and I was pleased with the excellent value. I'd buy it again if it cost twice as much! Anyone, romantic or not, who loves Bing and the music of his era should own this set!



4. This is a great disk set. The sound quality is wonderful, clear and crisp. The packaging is good and looks nice.
   I would highly recomend this set.



5. As a huge Bing fan I would highly recommend this box set. It ranges from The Rhythm Boys to his big Hollywood box office days. The sound quality is good and the songs they chose are true Bing classics. From "Brother Can you Spare a Dime?" to "Swinging on a Star" this compilation has some great tunes. Bing truly is one of the all-time greats. No artist will ever equal him.

5 comments about Gottschalk 40 Works for Piano.

1. Without getting technical, and having listened to these superb performances/recordings myself, I must say that the truth lies more on the side of the prior reviewer who referred to the detractors as "musical simpletons." The vast majority of listeners will surely DELIGHT in this fine, 3-CD set, assuming, of course, that they do enjoy Gottschalk's music in the first place (and who could NOT enjoy it?!). In sum, just buy it, play it, and relish it!



2. Mandel captures Gottschalk completely in this work. Every work is detailed well. I play much of Gottschalk, and Mandel's interpretation's are done to near perfection. I would dismiss the two previous reviewer's who talked about 'wrong note's' and other garbage, obviously reviewed by musical simpletons. I highly recommed this cd.



3. While I do have to agree with two other people who reviewed this cd, Mandel does lack some technical abilities. Be it as it may, even if these are his first takes, these are pretty darn good. However, Ability shouldn't be mostly considered when rating these works. Mandels' emotions are well played, tempo changes are great especially in Bamboula, and really well unlike most other ecordings, these sound crispy. What should matter the most is that we aren't listening to a robot play the piano, that would just be boring. Gottschalk doesn't want to be quoted, in my opinion, he wants to be interpreted. And like in all music something different is always better.



4. While I do have to agree with two other people who reviewed this cd, Mandel does lack some technical abilities. Be it as it may, even if these are his first takes, these are pretty darn good. However, Ability shouldn't be mostly considered when rating these works. Mandels' emotions are well played, tempo changes are great especially in Bamboula, and really well unlike most other ecordings, these sound crispy. What should matter the most is that we aren't listening to a robot play the piano, that would just be boring. Gottschalk doesn't want to be quoted, in my opinion, he wants to be interpreted. And like in all music something different is always better.



5. It bedevils me every time I reflect that such a great composer is not more noticed and recorded. Gottschalk has a melodic touch that rivals Mozart (yes, this is my opinion), a dexterity that rivals Chopin and an emotion to rival Mendelssohn. Yet, where are the recordings.

   Honestly, this is the most comprehensive recording of Gottshcalk, I think, that exists. And our favorite works are all here. L'union, The Last Hope, The Banjo, and in my opinion the pinnacle of emotional pot-boilers, The Dying Poet. This set will provide hours of listening and re-listening pleasure. So why's it so durn inexpensive?
   
   No, this isn't a recording pulled out of the dustbin from 1940 and 'spruced up' for a bargain reissue. The sound quality is quite good, actually. The recording is inexpensive because, if I had to guess and I guess I do, the tracks are all first takes. Of course, Alan Mandel plays with good feeling and ept dexterity but he misses much of the crisp speed and technique that Gottschalk demands. The trills are not smooth and the runs are not clean. Geez! I'm sure they didn't let him redo anything as some of the mistakes were just obvious! Not to worry though. As most of the botched runs are lightning fast, they're only mildly noticeable.

   Sadley though, I have to reccomend this recording out of necessity. The other Gottschalk piano collections are good too, but this one has ALL the good stuff where as they only have some of it.

4 comments about Berlioz: Complete Orchestral Works.

1. First I ordered Hector Berlioz Complete Orchestral Works (Box Set) in a 6-CD set by Sir Colin Davis because orchestral is what I like best. That was in 2002. Now I have ordered The Berlioz Edition (Box Set)in a 24-CD Box Set by Sir Colin Davis because I like what I have heard of Berlioz by Davis. I will put this up for sale, and if it doesn't go I will consider putting The Berlioz Edition up for sale after I have heard it. As I said I am in a Box with Berlioz Box Sets and can't afford both.



2. For those of us who grew up in the 1950s and '60s, the music of Berlioz means Munch and Toscanini: Munch for his incendiary performances of "Symphonie Fantastique," "Romeo et Juliette," "Damnation of Faust," the Requiem and the overtures (among others), Toscanini primarily for his gorgeous reading of "Harold in Italy" but also for his versions of the Roman Carnival Overture and (for those who could find it) the "Romeo" with Gladys Swarthout. These readings had one thing going for them, which was a rhythmic impetus that made even the slow movements exciting. Unfortunately, for those of us who read scores, when we checked these versions against the music we found that Toscanini and Munch had fiddled a bit with tempi and bowing accents in an attempt to make the music more exciting. Is this so bad? Not necessarily, because these conductors had this music in their blood, they were presenting Berlioz as they had processed him over a lifetime of love, and so their fast tempi had little in common with the rattly, jangly readings often turned out by John Eliot Gardiner.

   Sir Colin Davis was, and of this reading remains, the greatest Berlioz interpreter of the stereo/digital era. This is no mean feat when one realizes that he now has several competitors in the field, among them James Levine and Charles Dutoit, but in my view only the wonderful John Nelson (whose recordings of the Te Deum and "Nuits d'Ete" with Susan Graham are so wonderful) really comes close. And what makes Davis so great is that, like those legendary conductors of old, he really gets under the skin of Berlioz and makes him exciting while maintaining score tempi. Listen, for instance, to his "Symphonie Fantastique," still the benchmark modern recording after nearly 30 years. Davis also excels in his readings of the Overtures, music from "Les Troyens," and the Symphonie Funebre et Triomphale which grabs the listener and pulls him/her into its vortex of sound.

   In the other two symphonies, "Harold in Italy" and "Romeo et Juliette," I sense a lapse of sorts: the slow music is conducted not necessarily too slowly, but with a certain Romantic mushiness bordering on easy listening. This, for me, robs the "Romeo alone" and "Scene d'amour" of its passion, though of course it is wonderful to hear the score in modern stereo instead of Munch's cramped mono, and for me Toscanini's second movement of "Harold," with its peculiar yet engaging walking gait, shall never be surpassed--and, unlike Munch, Toscanini somewhat transcended his mono sound because of the wonderful clarity and transparency of his orchestra. Nevertheless, if I were forced to I would live with this Davis set over my Munch and Toscanini recordings because of their overall warmth and excellent sound.

   Other highlights include excerpts from "Lelio" sung superbly by pre-leukemia Jose Carreras (listen to him ascend fearlessly to those high notes--he hasn't done that in nearly a quarter-century!), dramatically astute singing by Patricia Kerns and John Shirley-Quirk in "Romeo," and marvelous interpretations of the Overtures (oh, and you can forget "Rob Roy"...Berlioz decided after one performance that he would never publish it or even bother revising it, hence it is not here). I do question the omission of the Requiem and Te Deum (after all, they ARE "orchestral works"), but with so many riches at such a low price, who cares? Liner notes are sparse, and this is a slimline box which means paper sleeves and no jewel boxes, but so what? For this much Berlioz, so beautifully sung and conducted, the composer himself would gladly have plunked down ...




3. This isn't a "complete" recording of Berlioz' orchestral music - what about the 'Rob Roy' overture? Granted it recycles some of Harold in Italy, but still...



4. This incredible six CD set features all of Hector Berlioz's purely orchestral music conducted by the great Sir Colin Davis, widely regarded as one of the greatest living Berlioz interpreters. In addition to favorites such as Symphonie fantastique, Harold en Italie and Romeo et Juliette, the set also includes the lesser known Lelio and several other works. The works were recorded between 1965 and 1980, and the sound is wonderful and rich. His interpretations are also lively and full of energy, especially in the overtures.

   The Romeo et Juliette included in this set is my favorite of all the recordings of it that I've heard, although I haven't yet heard Sir Colin's more recent recording with the Vienna Philharmonic. The recording of Lelio is also well done. Jose Carreras and Thomas Allen are the featured singers in Lelio's song movements, and the fantasy on Shakespeare's Tempest at the end of the work is fascinating indeed. If you've only heard Berlioz's Symphonie fantastique and want to hear more of his works, or are looking for a nice collection of classic Berlioz recordings, then take a good look at this set.

5 comments about The Stan Kenton Story.

1. Excellent for those who enjoy the music of Stan Kenton. This collection clearly illustrates that 'the Kenton Sound' evolved over the years, with the help of a fantastic group of musicians!
   I remember talking with Stan Kenton at a college concert in the '50s. He said that he played 'music for the people', and he also enjoyed talking about his music as well. A unique and talented gentleman!!
   Thanks to this collection, the mellow sounds of Kenton will remain alive in my memory.



2. Stan Kenton & June Christy bring back the great memories of the 50"s and the Crystal Ballroom concerts
   wow



3. Proper records has done everything right here. The CDs are full, no 9-10 tracks per CD, but 18-20+. Better yet, the selection is excellent, and from a hard-to-get era -- 1941-1947. I find myself listening to this early Kenton more than his later recordings, and enjoying it more.
   I found the accompanying booklet quite informative, in spite of being a Kenton fan since the 1950's. Another thing -- the notes give date of recording, and personnel. So many liner notes omit these, to my irritation.



4. These Proper box sets are a bargain--competently and intelligently produced. "The Stan Kenton Story" represents Kenton's band from 1942-1952, the period during which he established a distinctive sound, then found his visionary energies leading him to the experiments of the 44-piece Innovations Orchestra and the polytonal arrangements of Bob Graetinger.

   Additionally, Kenton fans undoubtedly will wish to acquire music representing the other two chapters in Stan's career--first, the all-star, swinging, neo-bop ensemble that Kenton formed in 1952, culminating in his "Mellophonium Orchestra" and the end of his association with Capitol records; second, the traveling orchestras that he recorded on his own label, Creative World, between 1964 and 1979. If you're limiting your purchases, try "The Best of Stan Kenton" on Capitol and "Live at Redlands University" on Creative World.




5. This is a 4 Cd box set with a fantastic booklet included, carefully researched by Stan Kenton expert - Joop Visser, with some really great b/w vintage photos that i have never seen before, and i have been an avid fan of the Kenton Sound for 45 years now.

   This is a classy product, well presented in a strong carboard surround box and contains some of the "great" original Capitol records recordings from the mid 40's.

   All the great Kenton sidemen are here in this collection, Buddy Childers, Shelley Manne,Kai Winding, Edie Safranski and many, many more from that great era.

   If you are a Kenton Freak, dont miss this box set because its wonderful stuff!

5 comments about This Is Smooth Jazz: The Box Set.

1. Beethoven: 9 Symphonies
   I don't know if I did this right... I'm supposed to be talking about "This Is Smooth Jazz: The Box Set." I'm really enjoying The "Box Set." Throwing a bunch of Smooth Jazz on my CD changer sets me up for a mellow evening. It's a great way to unwind!
   
   Now it's time to go dig up Beethoven and get wound back up.



2. I found this product disappointing. It was not to the level of other Smooth Jazz CD's I own. The arrangement was mediocre, since within a particular CD everything sounded alike. I would recommend instead "Oasis Smooth Jazz Awards Collection." I wish I could find another one of that caliber. The arrangement on that one is absolutely great. Gret variety, great performers, great pieces. Please keep an eye that I am talking about the Oasis CD, not about This is Smooth Jazz. This is Smooth Jazz is not at all like that. Three CD, triple disappointment. I enjoyed about 3 pieces on the whole set. Buy the Oasis instead.



3. This cd displays great work from some of acid jazz's top performers, who have taken a little edge off on some of these tunes to make it more smooth jazz friendly. I would highly recommend this cd for anyone who is exploring and tired of the same old headline smooth jazz names i.e. Gerald Albright, Kenny G, Najee, etc. I think these bands try harder and are truer to their music and play for love and not fame! I started collecting acid jazz by listening to compilations and then getting cd's of the bands whose sounds I like. You will have people asking you "who is that?", when you put this baby in!



4. A very good mix of different moods and feelings in this album.
   I recommend this album for the one who searches for more than just soft jazz. Some of the music puts you in a soft mood and some perks you up. I f you can play a guitar, try to play along to the songs, i do.



5. I bought this box set for my mom for her birthday and she absolutely loves it. I'm not a smooth jazz fan myself, but she certainly is! She loved the fact that each CD had a different "theme"... one for morning, noon and night.
   Anyway, I just wanted to share that with any of you who are considering buying this for yourself, or for your mom!!!