5 comments about Jeff Beck 3-Pak - Blow by Blow/Wired/There and Back.

1. Three Great Albums... Jeff Beck at the height of his artistic journey. Let's not overlook all of the other gifted musicians on these discs. The guitar gods sometimes get all the credit. If you are just getting into Jeff Beck and his bands, this would be the best and most economical way to "Get There"... Check out "Rough & Ready" if you can get the CD somewhat economically. Many fans forget about that one. One last thought... these cats can still ROCK!!! Love to see you live again.



2. for any old or new jeff beck fans this is a great collection of jeff becks best songs all in one very affordable box set. cd set contains "blow by blow" and "wired" and the last disc "there and back" all put out by epic records. i think the best way to listen to this set{if possible} is just put all three disc in and press shuffle all. cd contains classics like "cause we ended as lovers" to "blue wind" to "the pump" ....



3. I have been a Beck fan since high school/college and own allthree of these albums on vinyl. After my initial disappointment in"Who Else!" (I don't know, maybe at 40, I'm to old to like the techno stuff, maybe Jeff was just better 25 years ago!), I wanted to replace one of my old vinyl albums with a CD. Going back through my collection, I found that my 3 favorite Beck releases were Blow By Blow (1975), Wired (1976), & There and Back (1980).

   Since I had limited myself to buying just one of these, I had to make a decision! I was having a hard time deciding which was my favorite when I found this box set containing all 3!...(all 3 are better records than "Who Else!")




4. For A Brit, this is unbelievable value.These three albums chart JB's quantum leap for me, and I urge you to listen to "Cause we've ended as Lovers", "Led Boots", and "The Pump" (to take one from each) as demonstrations of Beck@s mastery.It's a personal thang, but next Hendrix, he discovered how to read a soul out of a guitar like no other... there are many really powerful tracks in this collection, and I cannot see a lover of electric guitar ever regretting stumping up the bucks for this slice of "Beethoven late quartet" level inspiration,beauty,and sheer octane.



5. Jeff Beck. 2 words that speak volums, A true musical genius of this or any generation!! I had the opportunity 2 c him live 4/18/99 at the paramount theater oakland 5 stars a real a classic!!! $35 for the ticket a true value

5 comments about Rockin' the Blues.

1. Great,great boxed set of the incredible Wynonie Harris. In my opinion the greatest African-American singer of them all. What vocal power! Some really good songs weren't on this, like "Wasn't that Good", but very important early songs were included. I'm very glad that more interest is being shown in his music in recent years, since he was almost forgotten in the years shortly after he died in 1969. A wonderful collection of classic jump blues, and I highly recommend it. Let there always be good rockin'tonite!



2. What a great boxed set. There are almost no weak songs and little or no filler, but imagine how much better it might have been if they had included "Bloodshot eyes" and "Lovin' machine." Worth 5 stars even without them.



3. ........OF ONE OF THE GREATEST BLUES SHOUTERS THERE EVER WAS, MR. BLUES, WYNONIE HARRIS. ADMITTEDLY, SOME OF THE SONGS SOUND A BIT THE SAME, BUT THIS IS GREAT STUFF, ORIGINAL ROCK AND ROLL, BEFORE IT WAS EVEN CALLED THAT. IF YOU LIKE BIG JOE TURNER, LOUIS JORDAN, JIMMY RUSHING, OR EDDIE "CLEANHEAD" VINSON, THEN YOU WILL ALSO LOVE WYNONIE HARRIS.



4. First, a bit of a warning... if this is going to be your first taste of WYNONIE, I highly recommend BLOODSHOT EYES... less tunes, but a bit more "punchy" and to the point. And if it isn't... welcome back, and welcome to heaven (yes, who'd ever imagine that sinners DO go to heaven?)
   
   As for Wyononie - - who was he ? I think there are a few great ways to describe him - - 1. As the true father of Rock and Roll (via the genre of so called "jump" and "rhythm and blues". 2 Louis Jordan's evil twin. (Will explain...) 3. One of the greatest (if not most perverse) blues shouters to ever live. As for the Louis Jordan comment - - the similarities are apparent - - both forged the way for rock and roll, but while Jordan tended to keep it clean, Wynonie didn't mind playing it blue... and his tunes are full of sexual references perhaps tame by today's standards, but still quite funny - - take I LIVE MY BABY'S PUDDING, ALL SHE WANTS TO DO IS SIT ON IT - - and LOVIN' MACHINE. Wyononie is also the hard drinkin' bad boy who reminded his listners to "keep on churning until the butter comes," meaning he was good, wholesome and encouraged people to drink milk... Thumbs up to him.
   
   Added surprized on this album include backing vocals by the HARLEMAIRES (one of the original R&B/Doo Wop vocal groups, featuring Frankie Lymon's Dad, and Dottie Smith, who also played timbale's and sang and strawbossed for Jordan) - - In addition tunes like OH BABE and GOOD MORNING JUDGE make you wonder who was copping who when it came to another Louis - - and finally there is one of the most swinging, jumping, houserockin' versions of TEARDROPS FROM MY EYES ever recorded.
   
   Ample reasons to purchase this... you bet.
   
   Of interesting note... the terms ROCK AND ROLL and R & B were actually terms concocted to describe this type of music long after it existed... Rhythm and Blues supposedly wasn't a genre but two types of music - - The Blues and "Rhythm" music, which were both RACE music and often played together... hence the DJs would say they were spinning Blues and Rhythm (or Rhythm and Blues) at that time... I mention that because in Wynonie's music you can really hear the cross roads and roots of the great American backbeat in all its forms from Jazz and Swing to Rhythm, Blues and Rock and Roll, hence the music isn't only soulful, humorous and toe tapping, its enlightening too !
   For this reason, Wynonie definitely belongs in your player and I hope you'll agree !



5. Buy this immediately!
   
   Wynonie Harris is the real 'king of rock & roll'. This is the music you hear about so much that was STOLEN by Elvis, repackaged, and sold to white teenagers. This guy is 100% the real deal and was rocking jukeboxes when Elvis was a nobody. Oh! and if you're one of these college-educated music history majors that say that Rock & Roll is a mixture of blues and country: This music, and other period R&B is proof that rock and roll is purely an extension of Rhythm and Blues. The probelm is that this "music of the devil" was about real life, it is REAL, alive, and full of sexual inneundo, so that means it never got radio play for the most part. That's why it was swept under the rug and forgotten about.
   
   About the set: I can't believe you're getting this much music for the price! This is an actual "boxed set" in the sense where each disc is packaged in an idividual jewel case. It comes with a nice, thick book with great, detailed, liner notes and amazing...almost startling photos of Wynonie "Mr. Blues" Harris. As a bonus, you get a catalogue of Proper's other releases as well. The sound quality is a bit under that of the single disc King complilaton release that I already had, but there is so much more here. All the hits are here as well as virtually unknown tracks. Many on CD for the first time ever.
   
   You get the rockers, you get the straight-up blues, and he even does a fantastic job as a crooner. I was also really surprised to hear some slow boogie-woogies. These few tracks have a repitious bass line, which add so much excitement. Mr. Blues litterally, slows down, sustains the note for a while...almost like a tenor sax. That sound is so soul-satisfying. What raw talent and versitility in those arrangements! I can't stop listening!!!
   
   Mr. Blues, may you ROCK mankind for all of eternity!! You have left us and are sadly missed, but you have left the entire world with the gift of your pure musical genius. Rock, Mr. Blues - FOREVER!

5 comments about Live Phish Vol. 2: 7/16/94, Sugarbush Summerstage, North Fayston, Vermont.

1. personally, i think this show is awesome,reaally tight on every jam, the first set seems a bit basic, its good but its not great, alot of classic songs like cavern, down with disease, stash, and golgi apparatus, all played well, but no real long epic jams.
   once the seccond set is on, it is ONNN, probably the best run like an antelope ive ever herd since Las Vegas 2.15.03 (off of livephish.com) the whole band seems really into it and is just a really intense vibe goin on, you can hear fishman yelling and screaming alot which is awesome, this jam really goes places, then into a very different catipult, very funky and spacey. Next is a reeealy sweet Harupa in which trey tells the story of Harupa which is pretty long, but its entertaining enough and fits in with the song well, which segues into a beautiful 2001, short, but totally sick and soon enough they jam back into harupa, finishing off the story and soon enough busting out into a great Ac Dc Bag and into an acceptionably good scent of a mule, the last three songs of the set are really on as well, Harry Hood always a crowd favorite has got everyone feelin good about hood, a nice mike heavy contact, nice grooves on this track and a particularly good Chalkdust Torture, very different than most, they jam a decent ammount before the lyrics kick in and its pretty sick, and then they end out the show with an AWESOME Suzie Greenburg. i would highly reccomend this show especially for the seccond set, if i ever lost it i would replace it, its great, definatly one of the highlight shows of the 94' collection.



2. On a beautiful warm summer evening phish set up stage at the base of one of the slopes at SugarBush ski resort. We fans gathered up the slopes, all gen admission, and enjoyed what may have been one of the best Phish shows I'd ever had the pleasure of seeing. This CD captures the priceless show perfectly as a great historical record of their evolution.
   
   yeah... i was there, loved it then, still love listening to it now.
   
   Whether an old or new phish fan, this show is a solid choice for anyone interested in obtaining a great quality recording of one of their live performances.



3. BEST HOOD EVER, MELTS MY FACE OFF EVERY TIME I HEAR IT. Probably my favorite jam out of the whole series starts at 7 min and peaks until your face melts off, then peaks some more. Best complete show - Volume 06 with the wipeout fest.
   
   much love, love music, love life, music is life



4. Set 1: 4.5 stars; Set 2: 3.5 stars
   
   "Live 02" is the second in the series of (so far) 20 shows officially released by Phish (more are available via its website). "Live 02" (23 tracks, 3 CDs, 154 min.) was recorded at the end of the Summer '94 tour, in Phish's home state of Vermont, always a good omen of good things to come.
   
   Set 1 is the treasure of this set, starting off with an excellent "Golgi Apparatus" which immediately puts you in the middle of great jamming, it's like the band skipped 'warming up'. Other highlights include a superb "The Lizards", a great little song, "Silent in the Morning" with subtle guitar work from Trey, and a blazing "Maze". Set 2 (on CD2 and CD3) is very uneven IMHO. I can't get into the 19 min. "Antelope" at all, just not my kind of jamming. "Harpua" includes Trey 'telling a story' but it takes too long. "AC/DC" is good but I've heard (much) better versions. Much is made up by a delicious "Harry Hood", the best track of this set.
   
   There is really no 'bad' outing in the 'Live' series, but (and this is subjective of course) there are better 'Live' sets (some of my favorites are 18 and 20).



5. I recently purchased Live Phish Volume 2 after reading many good things about it. For those who were like me, saying to themselves, "There are 20 Live Phish cds, which one do I get and why?" this is a great place to start. In most Phish shows, the band rocks through the first disc, then jams and goes crazy on disc 2, then closes things up with longer songs on disc 3. The band starts out Volume 2 (live from Sugarbush in North Fayston, Vermont) with a tribute acapella to Vermont, their home state, and you know it's going to be a good show. The band displays lots of energy and showmanship throughout the 3 cds. Volume 2's first disc rocks out a classic '94 setlist. Disc 2 has lots of screaming, story telling, joking, and craziness that you don't find on some of the other volumes. This is from 1994, a time when the band was at its peak with the big crazy shows while going all out musically. Things slow in '96, get more serious & change to funk in '97, then change gears totally after their 2000 hiatus.
   
   I also recommend volume 7 (lots of energy, great first cd culminating with "Split Open and Melt" - note: some people aren't as excited about discs 2 & 3), voume 6 (great disc 1, disc 2 they play all songs with a "Wipeout" theme or mix, great energy and music, disc 3 wraps up nicely), and volume 11 ('97 funk-filled show, turning point in the music). I read that Volume 10 was also amazing but I was disappointed (sorry), since I thought that Volumes 2 & 6 have more energy. Volume 10 has a good disc 1, and some craziness in the middle of disc 2. So check out 6, 7, 10, and 11 if you can. If you're new to Phish and trying to figure out what is the best cd to get a good feel for Phish, I recommend starting with "A Live One," which features great versions of songs from different concerts. Hope that helps.

5 comments about Bellini - Norma / Caballé · Vickers.

1. As several other reviewers have pointed out, this is an awesome performance, and Caballe is wonderful as Norma. But the recording is truly terrible, and it sounds very remote, and very amateurish. It is a real pity that such a wonderful performance has been so poorly served by the very low quality of the sound.



2. Well what can one say about the greatest performance by Montserrat Caballe? She herself regards this Norma to be the greatest performance of her career. It was she who asked the greatest Norma of the 20th century, Maria Callas, for advice and suggestions as to how to do it justice. Caballe was in miraculous form that night. This is maybe the greatest "Casta Diva" since the miraculous recordings by Ponselle (1930ties) and Callas (1949, what a BEAUTIFUL voice young Callas had) Callas middle was her forte, it remained rich and luscious to the end, even after she lost her top after 1958-1959 it shone still. (Listen to the Toscas and Medeas in the sixties) It's ignorant to say that Callas' middle was a mess. But since this is done by a foolish Callas-Basher, what do you expect? And yes, after 1964 Sutherlands middle (Unlike her crystal-clear topnotes) became cloudy, muddy, mushy and messy. Stop attacking those who like Callas. You're making a fool of yourself.



3. Callas was not the greatest Norma of the 20th century. That would be Ponselle.
   
   Sutherland's middle a mess? Callas' middle was much, much worse!
   
   Verrett as Norma? Her Norma got panned by most critics. Sutherland could sing the role with rock-steady tone and precise coloratura. Verrett is a mezzo and she took on Norma with mixed results. Her "Casta diva" was always rocky sounding and her trills and fioratura cannot match Sutherland's.
   
   This is the truth, Callas fanatic!



4. This truly was Caballe's Norma. While her studio recording with RCA has Fiorenza Cossotto and Placido Domingo in the main casts, her live 1974 performance at Orange can never be bettered by any soprano after Callas. Sutherland may have a high voice that could easily tackle the high notes of Norma, but her middle was a mess and her low notes were basically nonexistent, those of which were so essential for a great Bellinian soprano. A mezzo such as Shirley Verrett could tackle this better than Dame Joan could, and it still puzzles me how she triumphed as Norma even if reviewers of her performances described her singing as "Superhuman but lacking drama". Caballe sung Norma very finely. She had great pianissimos and could deliver the most beautiful legato lines. Her partner tenor was AMAZING as well. Jon Vickers was dramatically capable of doing Pollione well without sounding too much like Siegfried. And Josephine Veasey was great as Adalgisa too. Buy the DVD and witness the beauty of Caballe's Norma on that night at Orange. Even Callas told her producer "You made her look too beautiful." And those were the words of the greatest Norma of this century.



5. This is a wonderful performance of Norma. Montserrat Caballe is terrific and carries the show. The sound quality is not great; otherwise I would have rated it a 5. This CD is worth owning, however, despite the problems with its recording.

5 comments about Legendary John Denver (3CD).

1. This album has a lot of songs for the price, and some less often heard songs. I gave the album 4 stars, because even though it isn't the normal well-known performances on every song, it's John Denver and they still sound great. If anything, I look at this as a special set to add to my John Denver collection. Great for any die hard fan who needs every cd, or for someone who wants all the hits in one package, but if you are really familiar with his music, then you will know that you need the original albums to have his best recordings with their best quality and performances. If you don't know John Denver then you must be living under a rock. But don't worry, John Denver loved nature! His music ranges from soft romantic guitar love songs to upbeat folk and country songs that you can dance to. His desire was to write songs that people can relate to. He often sang about love and nature and life. Throughout his music, you'll hear his distinct voice, that may be the very staple of his identity, which so many people have come to love. And to top it off, he is also an exceptionally beautiful guitarist.



2. Previous reviews of this recording were accurate. This is a wonderful collection of Denver's recordings. Gives me a wonderful warm feeling listening to these masterpieces. I didn't have any of his recordings, so this was a great buy.



3. This set of CDs is packed with terrific songs. All the best of John Denver, including some songs that were new to me. It is great.



4. I've just about worn out my old John Denver tapes, and now I don't even have a car stereo that will play them. What a wonderful treat to immerse myself in John Denver favorites during a recent long drive. Talk about memory lane!



5. I'm old enough to remember John Denver when he was a new young singer, and I've always liked his music. In the last few years I've been replacing the albums I had originally on vinyl, plus adding some new ones, particularly collections. I love this album. I believe it demonstrates very well his versatility as a songwriter and musician. His music for me has always had a variety of sound and mood, and this collection illustrates that nicely, as well as including songs from many different points in his career.
   
   The sound quality of the tracks seems to be a bit uneven, but I'm not a musician and although I notice it, it doesn't bother me. Overall I think it's a great collection that really gives you a feel of what John Denver was about. Makes me miss him all the more.

4 comments about The 1930's Recordings.

1. I am a big Mills Brothers fan and thought I just couldn't live without this 5-disc set of their earliest recordings. Frankly, I've become bored. The producer decided every recording, in chronological order, even those recorded twice, three times, even four, should all be included. I've struggled to listen all the way through, and am still working at it; after all, I paid $60 bucks for this set. At the same time I purchased THE ANTHOLOGY (1931 to 1968) which is nothing short of delightful. That's the one I recommend!



2. What a great collection of music! I knew very little about the Mills Brothers prior to buying this set, and pretty much found this item by accident (you know how it is on Amazon). But I have purchased JSP sets before, and was familiar with their high quality and value. So I took a chance on the Mills Brothers, and since getting these I've listened to the set over and over, I never seem to get tired of it. Yeah, a few of the songs are repeated now and then, but it's all good. I have to say that this is one of the best music purchases I've ever made. I'm just glad that CD's don't wear out.



3. JSP has done it again! I'm a big fan of their CD box sets--I've got the Jelly Roll Morton set, the Louis Armstrong set, and the Carter Family set. They're all excellent! This one is no exception. The remastering is by John R. T. Davies, so naturally, the sound is superb. From the earliest 1931 recordings through the 1938 sessions here, the recordings are crisp, clear, and rich-sounding. Each piece is a gem. The Mills Brothers voices blend so smoothly together, I could listen to their records for hours. And with this 5-disc box set I *can* listen for hours! Each disc is packed full, and I appreciate having the alternate takes. Occasioanlly on these discs, the Mills Brothers are joined by Louis Armstrong, Bing Crosby, Alice Faye, Cab Calloway, Ella Fitzgerald, Dick Powell, and a few others. The liner notes are good, and for five CD's, you can't beat the price. My only complaint--and it's a small one--is while the recording dates and master numbers for all selections are given, no indication is made of the original record labels or numbers.



4. My reason for not giving this five stars is due to the large number of alternate recordings of duplicate songs, but this is really due to the utterly documentarian approach the folks that put this CD together followed. Every single recording from the Mills Brothers earliest years are here (in stunningly good sound), presented in chronological order, which means that the listener is subjected to multiple recordings of "Caravan" and others. If you are a Mills Brothers fanatic (as I am), this is an indispensable set to own. If you are a more casual fan, pick up one of the greatest hits CD's listed here.

5 comments about Mahler - The Complete Symphonies / LPO, Tennstedt.

1. I am almost as enthusiastic about Klaus Tennstedt's Mahler as any of the reviewers below. Since his death, the conductor's reputation has grown steadily -- his Mahler cycle was inevitably overshadowed during his lifetime by bigger marquee names like Bernstein, Solti, and Karajan. As a bargain set, Tennstedt's Mahler contains as many original ideas as Kubelik's on DG, and for sonics and orchestral execution it's probably a few degrees better.
   
   Yet EMI's studio versions aren't really a match for Tennstedt live. He became more spontaneous and inspired in concert (one can't say quite the same for Kubelik, whose live Mahler on the Audite label sounds essentially the same as his studio versions). To test this out, try and find the live Teenstedt recordings on the Memories label. (Because it's an Italian pirate, Amazon doesn't carry Memories, but you can go to www.berkshirerecordoutlet.com.) A good place to start is the 2-CD box containing Sym. 1 and 2, both with the adequate NDR orchestra of Hamburg. The concerts date from 1977 and 1988, and both symphonies are capturd in excellent broadcast stereo, full and rich enough to mistake for studio work.
   
   In these readings you will hear the truly great Tennstedt. Mahler was as emotionally complex and technically intricate as any composer in history, and it takes a lifetime to plumb his depths. Tennstedt belongs among the charmed handful of interpreters who can find a strong personal viewpoint in the midst of Mahler's whirling universe -- what he achieves with the first movement of the Second, for example, is breathtaking and utterly unique. Other enthusiasts have made the same claims for Jascha Horenstein, but to my ears Tennstedt rises to another plane altogether. I may be overly influenced by Horenstein's habit of ignoring the need for good orchestral execution.
   
   If you find yourself bowled over by the First and Second, as I was, Symphonies 3 - 7 can be found in another Memories box set. I haven't heard it yet, but the orchestras rise to a much higher level (Boston, Cleveland, New York), so I can't wait.
   
   P.S. - In time I did hear the Memories box set of Syms. 3 - 7 and remain enthusiastic about all the interpretations. However, some of the braodcast sound is tubby and/pr shrill. Try the earlier set of Sym. 1 and 2 before taking the plunge.



2. Tennstedt's interpretations emphasize the darker side of Mahler's scores; hence he is among the "hands on" Mahler conductors, such as Barbirolli. Especially successful interpretations are those of # 1-3, 5, and 9. The sound is mostly fine analogue stereo, but some of the recordings are problematic: early digital with a nasty, edgy sound.
   
   Some comments of each recording.
   
   Symphony 1. A very fine interpretation, in outstanding analogue sound. Especially the two final movements are memorable showcases for Tennstedt's dark emphasis. But Kubelik's recordings (DG and Audite) are more consistent.
   
   Symphony 2. Excellent drama and tension, but the sound is not entirely satisfying (edgy early digital). Consider Metha's fine recording (Decca) for reference.
   
   Symphony 3. Also a very fine performance, but perhaps not great. Excellent, swift account of the finale. Anyway, first choices are Kubelik (DG and Audite), Barbirolli (BBC) and Schuricht (Classical D'Oro).
   
   Symphony 4. Not entirely successful, too fast and partly weak playing. Popp is excellent in the finale, however. Again, Kubelik is my first choice, followed by Barbirolli (BBC) and Horensten (EMI).
   
   Symphony 5. Excellent! A classical reading of tremendous power and passion. Very fine sound too.
   
   Symphony 6. Bad hammerblows, and a lukewarm middle of the road reading. The most problemtic interpretation in this set. Barbirolli's is my favourite recording (EMI), but Horenstein's is fine too (BBC or Unicorn).
   
   Symphony 7. Slow and entirely unconvincing, especially in a crowded field with great recordings, such as Kubelik's (DG and Audite), Gielen's (Hänssler), Bernstein's (DG and SONY).
   
   Symphony 8. Mahler requires two choirs, Tennstedt uses only one. Thus no "heavenly" sound. In addition, I have hard times with Lott's voice. But the recorded sound is very fine. Kubelik (Audite), Horenstein (BBC) and Mitropoulos (Orfeo) are first choices.
   
   Symphony 9. One of the best recordings in this set, and a moving interpretation as well. Consider Ancerl (Supraphon) and Klemperer (EMI) for reference.
   
   The Tennstedt set was for a long time the best and cheapest bargain set. But now it has been challenged by Gary Bertini's Mahler cycle on the same label. That set is more or less contemporary with Tennstedt's set, but it is generally far more arresting - virtually the interpretations and the recording quality are clearly superior. In addition, it is even cheaper. So my advice is that budget collectors grab the Bertini cycle while it is available. It is the best Mahler bargain cycle, and it is even better than many other, more expensive sets. However, Kubelik's classic cycle on DG remains my first recommendation.
   
   Nonetheless, dedicated collectors should have the Tennstedt cycle too. Recommended, but not without reservations.



3. Tennstedt has his unique ways and skill of engeenering the sound of Mahler's symphonies.
   
   Personally, I enjoy this CD set of Symphony 1, 5, 6, 8 and 9



4. I can say, what sound quality and performe of this symphonies is on top,best i ever heard. I'm professional musician,so this is not just a mere words.



5. Whether you are new to Mahler or just a fellow Mahler enthusiast looking for yet another way of hearing these wonderful works, this well-recorded 11-disc set strikes me as a clear "best buy." I recently acquired a brand-new, sealed copy from one of Amazon's alternative vendors for about $40, which works out to less than $4 per CD.
   
   On 19 December 1974 I was fortunate to attend Klaus Tennstedt's American debut concert with the Boston Symphony. The sole work was Bruckner's 8th Symphony (I am amazed to discover that I still have the concert program). The East German conductor was tall, gaunt, and seemingly rather un-coordinated: he almost fell down on his way to the podium. But once he lifted his baton, egad! The BSO, which often sounded so dispirited under Ozawa, immediately caught fire and delivered one of the greatest performances in my entire concert-going experience. Sadly, Tennstedt's later studio recording (different orchestra) was just a shadow of what I heard in Boston.
   
   My interest in Tennstedt was re-ignited a couple years ago by the purchase of an expensive ($225) box set of "live" Mahler recordings put out by the NY Philharmonic. Its main attraction was the opportunity to hear the legendary Mitropoulos 6th (superb!), the 1950 Stokowski 8th (excellent, but no match for Horenstein's), and Walter's Das Lied with Ferrier and Svanholm (preferable over-all to Walter's famed 1952 studio effort on Decca). But the set's two biggest surprises were a hypnotic 7th under Kubelik and a staggeringly brilliant Tennstedt 5th: I can't recall EVER hearing the orchestra sound quite this good in Mahler under Bernstein.
   
   The present Tennstedt set is not at that rarefied level: these are studio readings with a fine but lesser ensemble. The 1st is fairly straightforward and beautifully played, if lacking a little in the klezmer music's inherent vulgarity. The 2nd is very satisfying if, like me, you prefer a less interventionist version than Bernstein's. Regrettably, the sound here is rather recessed - you really have to turn up the volume to achieve sonic impact. The 3rd is better played & recorded than Horenstein's, if not quite its interpretive equal. Tennstedt's 4th is excessively hasty in the first mvt. and Lucia Popp's singing is rather over-extended in the 4th mvt. Beautiful slow mvt., though. The 5th, while to my ears clearly superior to both Kubelik and Bernstein, is not as brilliant as Tennstedt's later live EMI version or the live NY Phil. account. The 6th is a bit "over the top" for my taste and has some messy brass playing, but it's an unquestionably committed account. The 7th is a little tentative in the first mvt. but fine thereafter. The 8th has, along with the 3rd, the set's best recorded sound. It's a performance of real stature, despite an under-sized chorus ("the symphony of 500?"). The 9th is somewhat heavy until the last mvt., which is gorgeously played (likewise the Adagio from the 10th).
   
   So Tennstedt's set, like everybody else's, is a bit uneven. His main competition in the complete set sweepstakes comes primarily from Bernstein (Sony) and Kubelik (DG). Bernstein's is a highly proselytizing Mahler, with frequent dramatic underlinings and triple exclamation points: to my ears Lenny is just a little too exaggerated and inveigling. Kubelik has a rather rustic-sounding orchestra and often veers toward quickish tempos, with recorded sound that is uncomfortably bright and bass-deficient. If you are looking for a first-ever set in reasonably decent sound, this Tennstedt offering is probably the best choice (and by far the cheapest).
   
   Ultimately, just as a meal prepared from scratch will satisfy more than a TV dinner, I feel that choosing individual readings from a variety of conductors is the most satisfying course to pursue. My suggestion: buy this cheap Tennstedt set and then garnish it with some of the best individual offerings, plus a completed version of the 10th and a Das Lied (a symphony in all but name). Here are my current preferences in addition to this Tennstedt set:
   
   #1. The live Kubelik (Audite) is just about perfect - it's even better than his two studio versions. The mono Horenstein on Vox (great interpretation, some scrappy playing) is closer to how the music was played in Mahler's day (e.g., lots of lovely string portamento), and it's available for just $3.98 from Berkshire Record Outlet.
   
   #2. The Scherchen (Millenium), despite some eccentric tempos, has choral entries steeped in mysticism, and Mimi Coertse's glorious soprano voice is unmatched for innocent radiance (what a shame she didn't do a 4th with Scherchen). The studio Klemperer (EMI) is excellent, but I prefer his more urgent live 1951 Amsterdam account, with Ferrier's unforgettably valiant Urlicht (recently available on a Membran CD for just $2.99 at broinc.com).
   
   #3. Horenstein (Unicorn) is simply indispensable. Another of my favorite 3rds comes live from Jean Martinon and the Chicago Symphony. It features spot-on ensemble, a deeply-felt interpretation, and sensational recorded sound. It's available only in an expensive ($225) 10-disc set from the CSO (which includes an outstanding live Bruckner 7th with Tennstedt). I also admire the big-hearted Barbirolli 3rd (BBC) and Mahler disciple F. Charles Adler's old-fashioned account (Tahra).
   
   #4. Horenstein (Chief CD) and Kletzki (EMI) now strike me as the finest stereo readings. Would somebody PLEASE re-issue the enchanting Otterloo (Epic LP)? Stich-Randall's ingenuous soprano was just about ideal. And, last but not least, there's the Mengelberg (on Q Disc and other labels) with the appealing soprano of Jo Vincent.
   
   #5. Tennstedt/NY Phil. is breathtaking, even though I prefer a quicker Adagietto (i.e., Mengelberg's stand-alone reading). A more blunt and very well-played account is Barshai's (coupled with #10 on Brilliant Classics). The early Scherchen (DG Westminster) is also a classic.
   
   #6. My favorites: Barbirolli (EMI), in spite (or perhaps because) of the slow 1st mvt., the blazing live Mitropoulos/NY Phil., and the live Rosbaud (much in need of CD re-issue).
   
   #7. The aforementioned Kubelik/NY is magical, even though the 1st mvt. is quite slow. I also treasure the Horenstein despite its poor execution (better heard on a Descant CD than on BBC or M&A). Scherchen (Orfeo) and Rosbaud (Wergo) present Mahler in a more avant-garde guise: both are riveting performances. The Bernstein/NY Phil. (Sony) strikes me as that conductor's finest Mahler recording.
   
   #8. Horenstein (BBC) carries the day for me. The 1950 Scherchen (Tahra) has problematic sound and some pretty awful singing: soprano Illitsch sounds like a mis-placed Brunnhilde, and mezzo Anday's wobbly vibrato reminds me of Bert Lahr singing "If I Were King of the Forest." But there are moments (the last ten minutes especially) where Scherchen achieves a Furtwanglerish intensity that is hair-raising.
   
   #9. Two that really stand out: Ancerl (Supraphon), especially his electrifying Rondo Burleske, and the mono Horenstein on Vox.
   
   #10. My favorites: Wyn Morris (an Adagio of heart-rending loneliness) and the Martinon/Chicago (too fast in the Adagio but brilliant otherwise; available only in another wallet-depleting 12-CD box set). The Morris (Philips LP) is WAY overdue for a CD transfer. Barshai's 10th (coupled with his 5th on budget label Brilliant Classics) is excellent.
   
   Das Lied. Kubelik (Audite) with Baker & Kmentt is a superb all-round choice. The 1939 Schuricht (Minerva, etc.) has Ohmann's Melchior-like heldentenor (extraordinary!). The finest studio set is probably the Klemperer with Ludwig & Wunderlich (EMI). Ludwig is even better with Kmentt in a live Carlos Kleiber set on Golden Melodram (but the sound is rather poor).
   
   This Tennstedt set is a fine and inexpensive introduction to Mahler's symphonies. After adding a completed 10th, a Das Lied, and perhaps a few supplementary readings, you can then sit back and revel in many hours of glorious music making.
   

5 comments about Best of the Big Bands.

1. Although far from a complete compendium of 'the music that won World War II', this box set presents some of the greatest big band hits in a well-remastered format. Close your eyes and be transported to the Brown Derby, the old Hollywood Hills, Ciro's, the Stork Club, the Trocadero, and the Allied canteens of World War II... To see my novel, please go to: The Diamond Conspiracy: A Novel



2. Nice compilation of swing.
   First volume is presenting Glann Miller' hits. I didn't know that Pennsylvania 6-5000 and Chattanooga Choo Choo were recorded without vocals.
   Second volume is presenting Benny the King Goodman. Mostly fifties material. I miss Sing Sing Sing and few others.
   The third volume is a mixture of Benny Goodman, Glenn Miller, Woody Hermann, Duke Ellington and Count Basie's live material. Sometimes a little too jazzy. Sound on whole compilation is great but this set doesn't include all the Best Of The Big Bands material.



3. I am an avid listener of big band music. I know what original recordings sound like, and these are NOT the original recordings. Although the music is still nice, and these were performed by good musicians, I can still hear and notice the obvious difference from the originals. It just doesn't have the smoothness and "swing & sway" associated with the "real thing." It's a decent collection, but I prefer original recordings, with the original sound.



4. Being a fan of big bands, I looked forward to playing this CD set, especially the Glenn Miller portion. Unfortunately, I am familiar with Glenn Miller and these renditions were poor imitations. The notes on the box gave no hint as to who made the recordings. Other than a brief mention that the CDs were "made in Canada," I have no idea of the recording artists. But I strongly suspect that they are NOT original recordings, and NOT the latter day Glenn Miller band. This CD set is just okay. But, for a few dollars more I would prefer the "real thing." Color me "Disappointed!"



5. This Box Set is a very valuable one (3 CDs for the price of 1 and what Cds!) and it contains some of the biggest moments in swing jazz, the genre I've just begun to explore. I think it is a very good starting point for all who aren't into the genre yet but want to know more about it. Before listening to this set I only knew "Take the A-Train", "Chu-Chu" and some standard classics but this opens the horizon and makes me want to know more about swing jazz.

3 comments about Jazz Moods: An Intimate Evening.

1. Nice quiet, well done jazz CD. Great for relaxing or otherwise....



2. This is one of the best mixes of Jazz I have ever found. It is fantastic to have playing as background music for ANY occassion. I take it to social gatherings with friends and family and EVERYONE loves it. It sets a really soft and casual atmosphere for partys. All 3 disc are relaxing and ejoyable. They really help to take the edge off after a stressful day of work. It's always in our cd player at home. Once you buy it, you'll wish you would have long ago.



3. WITH THESE THREE DISCS YOU HAVE A CHOICE OF MUSIC THAT WILL PLEASE THE LISTENER WHO WANTS TO RELAX, {NOW JUST DON'T LEAN BACK AND THINK SONOROUS}...WHEN YOU KNOW YOU ARE GOING TO LISTEN TO THE LIKES OF SCOTT HAMILTON, KENNY BURRELL, CAL TJADER, GENE HARRIS, ,MEL TORME, RAY BROWN AND MANY MORE INTELLIGENT MUSICIANS......YOU CAN LISTEN TO THE DIVERSITY OF TALENT, ENJOY...BACKGROUND MUSIC TO DINNER, OR SET IT UP FOR TRYSTING.....THIS IS THE PURPOSE OF THE SET, AT 75 I JUST PREFER TO SIT BACK AND LISTEN,{WELL MAYBE REMINICE A BIT} BUY IT YOU WILL LIKE IT peter a. dattilo

5 comments about Louis Jordan & His Tympani Five.

1. Simply put, for its value this is one of the greatest collections of CD's of utter joy and happiness around.
   
   This multivolume set covers the early music and musical peak of the musical and comical link between Bert Williams and Louis Armstrong (LJ's dad was a friend of Bert's and used his records to inspire his son, and Satch was a mentor and occasional collaborator with LJ) and the first generation of R&B rockers (Ray Chalres, the Godfather, B.B. King, and Little Richard have all sang their praises to LJ).
   
   Some of his really rare early music is found on the early discs. It took him a while to find his style of humorous stories told to a beat and inspired sax playing, but there are still some diamonds in the rough here. "Swinging in the Coconut Trees" is an amusing and atmospheric instrumental, "Keep a Knockin" was later covered by Little Richard, "Do You Call That a Buddy" is a good comical blues with some nice background singing by the T-5, "June Teenth Jamboree" is probably the first record to deal with this early black holiday (LJ was astudent of Black folklore, and incorporated it into his music), and "What's the Use of Gettin' Sober" is the kind of wild, authentic black humor that would put Amos & Andy's "PseudoNegro" antics to shame.
   
   Later on, we get into the familiar bits of inspired nuttiness and great musicianship. "Caldonia," "Sat Nite Fish Fry," "Choo Choo Ch'Boogie," "Beware" (and its sequel "Look Out Sister" which has some hilarious early rapping), and what is to me the funniest R&B record of all time, the knee-slapping floor-pounding classic BEANS & CORNBREAD.
   
   We also get some of the calypso tunes with Jordan's expertly delivered "Jafakean" accent such as "Run Joe," "Early in the morning," "Stone Cold dead in the Market," and "Push Ka peesh Kee Pie." The West Indians were flattered by these tunes and LJ made succesful tours of the West Indies.
   
   However, the set ends at about 1950, just before our man's career peaked. But his later material is available elsewhere on Amazon. In either case, whenver you come home from a hard day at work, put this set on your CD player. It'll put your psychologist out of work!



2. I wandered into this CD while checking out the many great boxed sets that JSP Records has to offer. I knew very little about Louis Jordan before hearing this, and now I'm hooked! For anybody whole loves to hear the building blocks of modern music, this is for you. If you like to hear things like Bob Wills, Milton Brown, Louis Armstrong, This is for you.



3. Wolf Shadow, great review. Louis Jordan was my uncle and I have almost all of these great cuts on original 33 1/3s and even 45s and 78s. I will buy this CD to preserve my Louis collection which I hardly ever played in the past 40 years.
   
   I give it four stars instead of five because his grearest blues hit "Nobody Knows You When You're Down and Out" is not included in over 130 cuts.
   
   There are others I would have liked to have seen included like 'School Days', which we loved as kids years ago. Plus more of his blues solos. Lots of people did not consider my uncle a "serious" musician, which he surely was.
   
   All in all, a great box set well worth the price.



4. Don't think twice-- buy it! Great collection goes on and on, and never runs out of steam. Louis Jordan was at his peak when these were recorded. I repeat: buy!



5. The sound quality on this set is great with one exception: "Five Guys Named Moe" sounds horrible! It sounds like it was dubbed from an out-of-round record! What's most puzzling is that this is the only track that sounds bad, and that this was one of Louis Jordan's biggest hits, with many superior transfers available. JSP usually does a stellar job with sound - what happened here?! Luckily, I still have my LP version. Otherwise I'd give this set 5 stars.