5 comments about The Complete Capitol Singles Collection.

1. When Frank Sinatra decided not to sing-a-long with Mitch (Miller) at Columbia Records and signed a recording deal with Capitol Records, it ushered in an incredible output of albums and singles with the new label from 1953-1961.
   
   The collaborations were with the finest musical arrangers of the era - including Nelson Riddle, Gordon Jenkins, Billy May and Mavis Rivers - and Sinatra delivered a depth of emotion, along with an emerging hipper persona, with arguably the best material in his iconic career.
   
   The four-discs include 96 tracks and is a welcome addition to the Sinatra collection of any fan or for those wishing to delve into the history of pop music from that time period.



2. Frank Sinatra parted ways with longtime label Columbia after creative differences (to put it mildly) with Mitch Miller, signing a seven-year contract with Capitol in March 1953. Part of the agreement was that he retained his longtime arranger Axel Stordahl for several sessions to see if the orchestrations resulted in hit records. They didn't, and Capitol switched Frank over to Nelson Riddle in the style of Billy May.
   
   Sinatra's earliest singles from this period are strongly transitional; indeed, I'm Walking Behind You from April 1953 sounds as if it could have been plucked from mid-40s takes, with Frank's soft, restrained vocals failing to "rock the boat." However, I've Got the World On A String from April 1953 under Riddle shows a brassy, assertive Frank, although not quite in command of his hard-swinging persona as he would be in later years. On later tracks such as River, Stay `Way From My Door (1960), Frank is aggressive, poised, and in full command of the nuances of the song, pushing his voice to its edges until the song culminates in a fireworks-filled climax. Frank's recording of Sentimental Journey from 1960, conducted by Billy May, features the fascinating combination of the more assertive, swinging 1950s Sinatra with a mellow, nostalgic arrangement. He takes Day's song and makes it his own. Frank also recorded several nods to other popular experiments such as Bobby Darin's Clementine in his rollicking update of Ol' MacDonald (complete with "eh-huh" imitation of Darin's "hup-hups").
   
   The four discs are chronologically arranged, and many of Frank's most memorable songs came from his golden Hollywood era: Three Coins in the Fountain, Wait For Me, Well Did You Evah?, To Love and Be Loved, Who Wants to Be A Millionaire, rerecorded versions of I Believe, Time After Time, It's the Same Old Dream and Everybody Loves Somebody. It's fascinating to compare Frank's rerecorded Columbia catalogue, particularly when compared to his even later Reprise rerecordings to hear how his style (and the tastes of the time) changed. Disc three includes some of Sinatra's Christmas favorites such as The Christmas Waltz and Mistletoe and Holly. The five bonus tracks featured on disc four are interesting; Look to Your Heart from 1955 sounds much more like mid-40s Columbia, while You Better Stop from 1953 is bold and sassy.
   
   Of particular merit are the excellent liner notes by Will Friedwald, filled with fascinating trivia, musical analysis, recollections of those who worked closely with Frank, vintage photos and reproductions of sheet music and album art. There are also cartoonish line drawings printed in gold on heavy cardstock that add to the period feel. The back lists the tracks, catalog numbers, conductors, recording dates, and musicians.
   
   For the casual Frank fan, this highlight of the massive Capitol box set (21 CDs total) should be enough to amply display Frank's maturation since his earliest days in 1939 with Harry James, Tommy Dorsey, and his works with Axel on Columbia from 1943-1952; his embracing of a bold, jazzy, aggressive swinging persona and more vocal experimentation with phrasing and timing, his parroting of popular trends, and the wide range of film and stage material that he recorded. The liner notes only sweeten the deal.



3. For those who own the magnificent "The Capitol Years" boxed set, "The Complete Capitol Singles Collection" is the perfect companion piece to that set. Whereas "The Capitol Years" contained the many classic album cuts that Frank cut during his 9 year tenure at the label as well as some previous unreleased material, "The Complete Capitol Singles Collections," as its title implies, contains the many great singles he cut for the label. While certain songs are indeed duplicated ("I've Got The World On A String," "Witchcraft," "All The Way,"), the majority of the songs are new and have been hard to find for quite some time.
   
   There's nothing as powerful as "Angel Eyes" or as technically impressive as "I've Got You Under My Skin," but what you do get is 96 perfectly crafted pop singles that while not all hits provide further proof that Frank Sinatra was and is the greatest singer of all time. Each song features Frank at his absolute peak vocally, his unique phrasing and astonshing syncopation, timing and breath control all on full display. No matter the song being a swinger or ballad, all of these songs are imbued with a great sense of artistic integrity as Frank put the same amount of passion and sincerity into every recording he ever made, whether it was something as beautiful as "All The Way" or as inane as his risque take on "Ol' Mac Donald."
   
   The cd is very nicely packaged and comes with a great booklet and essay by various Sinatraphiles. A worthwile purchase for sure.



4. the lp tracks stand up so much better than sinatra's singles! too much sappy backing vocals.good price though $39.99



5. I do own Frank Sinatras Columbia years 4 cd set 1943-1952. I like how young and vibrant his voice sounds in those war torn years of America. I will say Frankies voice reached an unreachable peak during his Capital Years 1953-1962. This cd box set really showcases Franks incredible voice. I never realized how great Franks voice was until listening to this box set straight through. At first it was overkill but as each song played, I wanted to hear more. Frank saw through the whole process of his recordings, he also used top notch recording equipment in the recording studios. Thank the good lord Frankie did, because the remastered quality sound on this set is incredible for recordings this age. I was'nt around for Sinatras young years, but I appreciate this mans voice and skills in the studio. Frank Sinatra came from a poor upbringing. He fought his way to the top of the movie and record business, either unscrupuless or agreeable it doesn't matter, as the song goes Frank did it his way. Frank was very concious of his looks in public and on the screen. What Frank may have lacked in looks, God Blessed him with a beautiful voice that far surpassed any great looking Hollywood star of the time. The Frank Sinatra Complete Capitol Singles Collection is a must have for any music fan, the 96 page booklet is very informative and interesting. Frank Sinatra, even though deceased is Americana at its finest.

5 comments about The Complete Ella Fitzgerald Song Books.

1. The reason why you won't find a single review that gives this collection less than five stars is because this is just a stunning, amazing, extremely satisfying collection of music. The greatest music composers and lyricists of our time, each represented and sung by one of the great female jazz vocalists of ALL time, combines to make 16 CD's of classic jazz. I hemmed and hawed over buying this because of the price and bodaciousness of the collection, but with The Penguin Guide to Jazz Recordings: Eighth Edition (Penguin Guide to Jazz Recordings) making Ella singing Cole Porter one of its core collection selections, I wasn't sure I should buy just the Cole Porter portion, or if I should buy the whole giant set. I feared buying just the Cole Porter and being wowed and then having to kick myself for not buying the set, but I also feared buying the whole set and being stuck with 10, 12, or, God forbid, 16 CD's I was hardly going to listen to. I leapt in and bought the whole set, and I think it was worth every dollar. Jazz music collector's MUST have this whole set. Yes: MUST! Casual jazz fans and plain old good music lovers might get by with just certain portions, but trust me and the other thirty some odd reviewers who gave this five stars: You simply will not be disappointed with anything in here and this provides hours and hours of great jazz listening you, your loved ones, party guests, and people passing by while washing your car, will appreciate and enjoy.



2. Ella Fitzgerald's interpretations of Great American Songbook gems by Arlen, Gershwin, Porter, Duke Ellington, Rogers and Hart, Mercer, and Kern are timeless. Her impeccable phrasing, sense of humor, and chameleonlike ability to inhabit a song, whether sultry or playful, is teamed with tight orchestrations and flawless remastering on The Complete Ella Fitzgerald Songbooks on Verve.
   
   I first became interested in the American Songbook when my cousin gave me a copy of Rod Stewart's It Had to Be You... The Great American Songbook. My collection quickly expanded to include all of Frank Sinatra's early works on Brunswick with Harry James and Tommy Dorsey and his Columbia works (1942-1953) and 1940s songbook collections by Jo Stafford, Doris Day with Les Brown, and Peggy Lee with Benny Goodman. I first purchased several of Ella Fitzgerald's songbook CDs individually (Gershwin, Porter, and the best of Berlin), and was looking to purchase her Duke Ellington songbook, which retails for about $30. As a member of BMG Music Club, the entire Complete Ella Fitzgerald Songbooks was $89, so I opted for the box set even though I already owned five of the CDs.
   
   The 16 CDs are housed in a compact fabric-covered box in individual slipcases (for single CDs) and small cardboard boxes with the original LP artwork and reproduction LP liner notes. My only gripe is the cramped quarters; I switched the CDs to jewel cases for easier access, since it's a pain to constantly have to eject all the cardboard slipcases in search of one CD. The liner notes come in a small fabric-covered hardcover book.
   
   You'll find well-known and oft-recorded hits such as Night and Day, Blue Skies, I Got Rhythm, and I Got It Bad, but there are lesser-known gems that are equally entrancing, such as the dreamy, nostalgic My Heart Stood Still(Rogers and Hart), or her starry-eyed The Way You Look Tonight, with its soft sweep of strings and mellow piano. There are even spirited renditions of Wizard of Oz songs such as Over the Rainbow and Ding Dong The Witch Is Dead. Ella's jazzy, punchy delivery on Ding Dong is a satirical, big band romp.
   
   The Duke Ellington discs (three in all) were as stellar as I'd dared to hope; tight backing, Ella's dead-on scat singing that lets her jazz it up more than on the "canonical" standards. Rockin' in Rhythm features Armstrong-style muted trumpet, a pounding "Indian" bassline, and an extended scat melody. Ella's take on I'm Beginning to See The Light is much more playful and sultry than earlier recordings by Jo Stafford and other 40s singers of her ilk.
   
   Ella imbues each song with its own magic, bringing a sparkle to even the most tired of covers. The execution is flawless and the sound is timeless. Each time I listen I discover some new nuance, a turn of phrase here, a cleverly punctuated passage there. If you only buy one box set of standards, this should be in your library.



3. Yes, I know it's expensive. But hey, it's well worth the money! This CDs feature THE greatest singer of all time at her prime, singing some of the best songs in history. 16 hours of music and not a single mediocre song - you couldn't possibly regret buying this album.



4. There truly aren't words enough to describe the quality of this set in every aspect.The packaging is superb.The liner notes are impressive. It is the complete song book recordings made famous by Ella all in one place. Over 15 hours of pure magic ! I have always agreed with all the praise given Ella concerning her "jazz voice" , with all the scat singing and improvisational interpretations of songs , but I have always felt that her "pop" singing was under-appreciated in the grand scheme of things. This set will make anyone reassess her talent. A great voice is a great voice. What is really impressive is that Ella was obviously just as comfortably adept at singing in either style. A remarkable release.



5. Better than I hoped for. Well worth the money though I did think about it for a while due to the cost.If you like Ella and classic songs by some of the greatest songwriters of the twentieth century this is the perfect collection.

5 comments about The Complete Ella Fitzgerald & Louis Armstrong.

1. This 3-CD set is in my collection because I didn't have any Louis Armstrong or any Ella Fitzgerald at the time I bought it, so I envisioned my purchase of this compilation as a "two birds with one stone" sort of acquisition. I didn't know what to expect because, while I knew enough about the artists, I couldn't help but think any Louis Armstrong recording was going to bring on images of a hand-cranked Victrola and scratchy, one dimensional sound. This is anything but. The recordings are, for the most part, crisp and clear. No one will ever mistake them for modern recordings, but no music fan could turn his or her nose up at the more than adequate renderings achieved here. In addition to a lot of great Louis, great Ella, and some classic versions of a number of jazz and swing era standards, the third CD in the set includes all of Porgy and Bess. I consider this a great plus, not only because it gives you Ella, Louis and Gershwin, but also because I think it is better to have this classic version than have to weed through all the Broadway and "original cast" soundtracks to get all of Porgy and Bess on one recording. One thing I don't like about the set is the miniature "expand-a-folder" type cardboard case (like this Expo Expandable Organizer- Clear), which, while highly original, isn't all that useful and doesn't look good smack dab in the middle of my collection of CD cases. This is, however, a minor quibble. To be honest, since my music collection has grown so much over the past few months, I don't get this one down from the shelf nearly as often as I used to. Nonetheless, if you think you might love some classic jazz songs by classy jazz performers and your collection is lacking some Fitzgerald/Armstrong material, this might be a compilation that catches your fancy without breaking the bank. This also makes a perfect companion set to go with The Complete Ella Fitzgerald Song Books and The Hot Fives & Sevens, giving you all the Ella and Satchmo you'll ever need. I recommend all jazz fans grab this up without hesitation.



2. This collection is a chronicle of two amazing careers at their peak. The orchestral scores are arranged by the best to showcase Ella and Louis at their vocal best in 1956. Ella's smart and creative vocalizations are captivating and proof of why she is still a favorite in the 21st century. Louis who created the art of scat with his raspy voice shows how is it done to perfection along with his inimitable virtuosic jazz trumpet playing. This three CD collection never gets old to the ears and is a must for every Ella and Louis fan.
   -Dr. Philip J. Rogers, Professor of Music; Atlanta, GA.



3. The sound is amazing ! The performances are stellar ! The thought of crystal -clear , pitch-perfect Ella trading verses with gravel road Louis is just something that shouldn't have worked on so many different levels....but it did , and it did with Heavenly results. Add the special trumpet powers of Armstrong , and you will not find a better 219 minutes of music in any genre. Two H-U-G-E talents of jazz , having fun together----and the enjoyment is all for we listeners.



4. This album is so musically beautiful it makes me cry. It's pure, unadulterated, unpretentious, mature, and always totally fresh. Two of the greatest musical artists of the 20th century, Ella and Pops, are here together supported by what represents the very best instrumetalists on the planet at the time like Oscar Peterson, Ray Brown, Buddy Rich to name a few. You can't do better than that. It was just such a rare outing. You can hear how relaxed everyone is and you can feel the joy of the performances. Louis is especially in the best form for this time period aka 1956. Everything is here, the best tunes, the finest swing performances, thoughtful arrangements, and a sensitive clean production. As soon as you hear the first few bars of the first tune "Why Can't We Be Friends" with Ella's pure and beautifully sweet crooning, you'll know you're in for something special. A privilege to have such a record of true greatness.



5. What a pleasure to sit down and listen to such great artists, they certainly do not come like that today. Great sound to, it's like one is there, job well done by the sound people. I saw Louis Armstrong in Holland in 1959 and it will always be for me the best jazz concert I have ever been to. I recommend this CD to anyone.
   Aalf J Molenberg.

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.

2 comments about The Best of the Big Bands.

1. I have to disagree with the previous reviewer. Great collection, yes, but NOT by Glenn Miller. Although there are some excellent Glenn Miller songs included, this collection has most of the Big Band theme songs played by the original artists, and a collection like this is hard to find. So if you have any interest in the music from this era, or want a bit of nostalgia, this is the set for you.



2. This is another awsome set of tracks by Gleen Miller. I loved listening to him and his band play the original jazz master pieces. This is a great addition to anyone's collection of fabulous jazz C.D.'s

5 comments about As Long as I'm Singing: The Bobby Darin Collection.

1. Catchy tunes from a bygone era. Even my 14 year old son enjoys listening!



2. This collection of Bobby Darin's best is great, but I can't help but feel it somewhat lacking. Now, don't me wrong, almost every cut on this boxed set is quite excellent. But even so, I can't help but think it could've executed in a much better fashion.
   
   First of all, I don't like the sequencing of the cds. I understand they did it to reprsent Bobby's versatility as an artist, but it comes off as a bit of a hodge-podge. Had I been in charge of putting together this collection, I would've put it together in chronological order, as I feel it would give a better sense of Bobby's growth as an artist over time rather than breaking the recordings up based on genres. It makes for a very incongrous listen.
   
   Secondly, while many if not most of the recordings here are essential, A LOT of great recordings are missing. Bobby's classic renditions of standards such as "More," "On The Street Where You Live," "The Good Life," "The Good Life," "I Got Rhythm," "Moon River," "Call Me Irresponsible," "Goodbye Charlie," "Softly As I Leave You," "Venice Blue," and many others? These are some of Bobby's best and most beloved recordings, but unfortunately did not make the cut.
   
   Also, and I know I will be flamed endless this, but I think a lot of the stuff on the fourth disc could've been extracted to make room for more worthwhile material. Sure, there's some great songs present such as the hit singles "Things," "You're The Reason I'm Living," "18 Yellow Roses," and "If I Were A Carpenter," as well as album tracks like "The Work Song," "Sally Was A Good Girl," "I'm On My Way, Great God", "Simple Song Of Freedom," and his covers of "Reason To Believe" and "Blowin' In The Wind," a lot of these recordings come off as a bit pretentious as if Bobby were seeing "Look at me, I'm versatile!," which he didn't need to do because everyone knew he was already. People will of course disagree with me, but I can think of many more worthwhile recordings that could've been added.
   
   That being said, this is still a very worthwhile collection by one of music's greatest and most underrated pioneers. The packaging is excellent to boot as is the great booklet. I recommend this, even if it is flawed.



3. I keep this 4 CD boxed collection in my car, Obviously it is not everything of Darin but a great selection, and it is with me to & from work. I guess I'm just a compulsive listener of this great entertainer.



4. By FAR AND AWAY one of the finest box sets ever produced about any singer! ALL of Bobby's Best is in here.
   
   There NEVER was another "lounge singer" like Bobby was, period! He had it all, from great "swing" style, to "blues", "classic rock", and "weepies" (if you will)!
   
   *(note)
   My only comment on this box is this....(I bought it hoping that the song "Here I Am" was included in it...it is not)...But, if you do a search here at Amazon for "You're The Reason I'm Living/I Wanna Be Around", it will take you to this wonderful double album, containing "Here I Am", plus many more GREATS that will "fill out" this box! Trust Me on THIS ONE, folks! You're gonna love this box (and the noted separate album(s). ~operabruin



5. If you missed some songs ,in this Collection you can find all .

5 comments about The Music of Johnny Mathis - A Personal Collection (Repackaged).

1. I,have listened to these 4 C.d.'s over and over again and I, had difficulty giving any of these C.D's less than 10 of 10.Finally I,had to rate them 10 and 10 plus. IF there was ever a desert island disc, this is it. Solo's, duets they are all there. By the way I,love "Feelings and I, am thrilled that he included it.
   .



2. If you enjoy Johhny Mathis you will I am sure find this collection of Johnny's personal selction a treat to your ears.
   I was a teenager in high school during the late 50's when Johnny made what I believe to be some of his very best songs.
   This collection is so masterfully reproduced that the quality is phenomenal. So much better on CD's than the LP vinyls that we had back then. And of course the stereo systems that we have now further enhance the listening experience. Unfortunately Johnny's voice is now no longer anywhere near what it was back then so I am so pleased that we have these great songs archived on this new media.
   I just can't get enough of this great and wonderful voice. I'm just worried that I might wear out my stereo from playing these albums over and over again.



3. Although the products I ordered in December were just fine, the DHL delivery via llama was unbelievably slow and subsequently not received at all in time for Christmas. Amazon did reship, taking their own time about it, but at least used another carrier. Compared to everything else I ordered online at the same time, all free shipping by the way, this was absolutely the worst!



4. Johnny Mathis charted 37 song titles (not counting "Maria" twice) on
   Billboard's Top Pop 100 charts between 1957 and 1969. This box set
   includes only 13 of them --- omitting 24 of them. I find that very
   disappointing. Sure, what's on this set is fairly good overall but
   I think it's inexcusable to omit so much of his more significant
   recordings from his earlier days. This collection may be acceptable
   to those not interested in the early Johnny Mathis but for those who
   grew up with the Johnny Mathis music of the 50's and 60's, this set
   is sorely inadequate and that's why I'm so disappointed in it.



5. Excellent! A LOT of good tracks. Well worth the price.

5 comments about Trilogy.

1. This is a great CD with a lot of different Frank Sinatra songs that you haven't heard him sing before. Also has the Song You and Me on it, we were looking for this song for a while... good CD!



2. If ever Frank Sinatra demonstrated his amazing artistry, it is on the ambitious 106 minutes of music which spans the iconic chapters of his career, with a solid stride into the future.
   
   Originally released in 1980, it produced yet another Sinatra vocal masterpiece, Theme from New York, New York, but each section has collaborations - The Past, Billy May; The Present, Don Costa; The Future, Gordon Jenkins - that are welcome additions to his vast performance library.
   
   The standards are from legendary songwriters like George & Ira Gershwin, Jerome Kern & Oscar Hammerstein II, Irving Berlin and Cole Porter, with the pop material selected from the works of such contemporary stars like Billy Joel, George Harrison, Neil Diamond and Kris Kristofferson. But it's the 39-minute, free-form suite - The Future - written by Jenkins that is the cornerstone to this 2-CD set, which was initially issued on three albums.
   
   This was Sinatra's first studio release since the 1974 Some Nice Things I've Missed. That he elected to tackle this project shows Sinatra again forging a new path and delivering a twilight masterpiece.



3. Took three tries to get the Sinatra Trilogy set. 1st time got disc 1. Returned and then rcvd disc 2. Returned that and finally 3rd delivery, got 2 discs. Still no boxed set as ad promised. Now Amazon email threatens to charge me a second time for unreturned earlier disc which went out with their label and return authorization? Totally screwed up!



4. Frank Sinatra hadn't released an album in almost five years when he began working in "Trilogy" in August of 1978. It was his most ambitious project to date: three dsics, with three different arrangers, each covering a different theme. The three themes were Past, Present, and Future, with songs correlating to each time period.
   
   Upon its release, it greatly overwhelmed and polarized fans, especially the third section, a concept album of sorts that had Frank speculating about his nearing winter years and fantasizing about what the future holds for him. This section got the brunt of most journalists' criticisms, including several who referred to it as pompous and self-indulgent.
   
   Nearly 30 years later, however, "Trilogy" has aged excellently, and as far as I'm concerned is his best effort from 1973 onward (along with 1981's "She Shot Me Down"). Each section of the album has its share of excellent material, even The Future, which is far as I'm concerned is an artistic triumph for Frank as well as arranger Gordon Jenkins.
   
   Before reviewing each of the three discs, one thing I would like to point out is that Frank's voice is EXCELLENT. Anyone who believes Frank never got his voice back after 1973 is sorely mistaken. Frank sounds ever bit as good here as he did in 1942, 1956 or 1963: clear, tough, dramatic, powerful, able to hit a wide range of strong notes at both upper and lower register, combined with intricate phrasing and forceful breath control. The rasp that plagued him at 1974's "The Main Event" is almost completely nonexistent on this album.
   
   The first section, The Past, is often recorded as the best of the three, and it's definitely excellent. On this section, Frank tackles songs he either never recorded or hadn't done in years, all arranged by the wonderful Billy May, who does some of his best work with Frank on this set.
   
   From the opening track, a brand new rendition of "The Song Is You," it is clear Frank, at 63, is still at the top of hs game. May's arrangement explodes with energy, as Frank's voice dances around a torrent of furious horn lines and swirling strings, punching out notes and lyrics as forcefully as he did in 1958 (the last time Frank had done the song, with May as well, on "Come Dance With Me"). Frank recorded this song five times, but this version is definitive.
   
   The rest of the album upholds the quality of the first track superbly, as Frank gives off definitive readings of classics he hadn't visited or visited in awhile, including a passionate "But Not For Me," a magical "I Had The Craziest Dream," a wonderfully dramatic updating of "Let's Face The Music And Dance," a roaring "Street Of Dreams," a soaring "My Shining Hour," a sincere "More Than You Know," and a fantastic "They All Laughed."
   
   One other track worth singling out is "It Had To Be You." Many had sung this song before Frank, and many after, but no one has ever done a lovelier, more passionate and sincere rendition than Frank did on this album. It is one of his finest love songs and best latter day recordings.
   
   The Present is a set of contemporary material, some newly written for Frank, some covers of other artists' hits. The contemporary numbers are excellent. "You And Me (We Wanted It All)" is a singularly beautiful and heartbreaking ballad that only Frank can sing. Frank pierces the very heart and soul of this song, as he details the rsie and fall of a romance that once was "the best" as he only he can. "Summer Me, Winter Me," in contrast, is one of his best love songs ever. Tender and warm, with an evergreen reading by Frank and a soaring, atmospheric Don Costa arrangement, it is one of the most underrated Frank recordings and is one of his shining hours on record. His voice is excellent on this one, especially as he punches out the refrain after the instrumental break. Finally, there's "That's What God Looks Like To Me," about discussing the identity of our Creator to his small child. It could've come across as silly and lightweight, but Frank turns it into a sincere and beautiful performance, very gentle and moving. If you have small child who has any questions about God, play them this song.
   
   The covers of other artists' songs go over quite well. Billy Joel's "Just The Way You Are" is turned from a plain ballad into a fiery swinger, while Elvis's "Love Me Tender" is an excellent tribute to The King. And "MacArthur Park" is simply grand and recalls the 1961 recording of "Stardust" that Frank did on his first record with Costa, "Sinatra & Strings." Some recordings don't go over quite as well: Neil Diamond's "Song Sung Blue" is ruined by unnecessary backing vocalists, and Kris Kristoferson's "For The Good Times" would've been better without the annoying Opera singer.
   
   There are two recordings on this set, that most be singled out. One is Frank's rendition of The Beatles' "Something." Often called by Frank "The Greatest Love Song Ever Written," Frank gives one of his most soulful and haunting performances ever on this track, backed by a breathtaking string arrangement by Nelson Riddle. As much as I love The Beatles' version, Frank takes this song to a whole other level, and creates the definitive version.
   
   The other recording worth noting is "New York, New York." Okay, so everyone knows the song, it's Frank's most popular recording, blah, blah, blah. But regardless of the fact that for many it's overplayed, it's still a landmark recording for Frank. Here's Frank The Legend sounding as good as ever, 40 years after he made it, still punching through long, furious notes like a pro, right up to the grand finale, a crashing, operatic finish that only he could accomplish. The fact that at 64, Frank could still score a song that would become among his most well known gives ample creedence to his appeal, influence and legacy.
   
   "The Future" is a bit of a hard section to review, but I love it. Gordon Jenkins' arrangements are some of his beautiful - lush, soaring string lines, subtle, pensive horns, beautiful backing vocalist adding further atmosphere - and Frank does his best singing on this section. His voice is dramatic, grand and ascends to almost operatic peaks. His singing is not dissimilar to the style he used on his 1963 classic "The Concert Sinatra," and he sounds just as good as he did at 47 at 64. Some songs, like "World War None" are a bit too pretentious, but Frank's passion and dedication more than make up for the lack of meter. "What Time Does The Next Miracle Leave" is an epic masterwork that has Frank's storytelling abilities at their zenith, as he takes through Outer Space and back, leading us on an atmospheric journey through our Solar System. The closing "Before The Music Ends" is a magnum opus, a summation of Frank's life that will leave you breathless by the song's end, and gives a grand powerful closing to the album.
   
   Ignore the naysayers and purchase this album. "Trilogy" is a fantastic effort, and while not as good as his Capitol material, is in the Top 20 Best Frank Albums and is an essential purchase.



5. This weighty project made an auspicious appearance at the time of its release, but like the two Duets sessions, which were greeted with much enthusiasm (Sinatra's best-selling long-playing recordings of his entire career), "Trilogy" eventually loses luster in comparison to dozens of other Sinatra recordings. I confess I rarely go back to it (better than the Duets dates, which I never revisit), whereas practically all of the Capitols and Columbias as well as many of the Reprises (September of My Years, The Concert Sinatra, the 2 studio albums with Basie, the live album with Basie at the Sands) see constant playing time in my CD player.
   
   This is not to say that "Trilogy" is another "A Man Alone" or "Watertown" (the latter the only Sinatra recording I could barely bring myself to listen to a second time). Immediately critics were quick to proclaim as the weak link the third disc, "The Future," inexplicably assigned to the most nostalgic and sentimental of Sinatra's composers, Gordon Jenkins. Even if the premise and execution border on the absurd, it nevertheless exerts a kind of charm--perhaps not on Sinatra newcomers, but for the converted it's a worthwhile if curious work capable of growing on you. In fact, I now prefer it to most of the "period piece" pop hit ephemera on the 2nd disc (the CD package compresses the 3-disc LP box into 2 discs).
   
   The highlight of the package, to my ears, is Sinatra's emotional, riveting reading of Arlen-Mercer's "My Shining Hour." Even here, the arranger Billy May takes a chance by suddenly inserting a chorus of voices for the second time around on the bridge, rather than handing it back to the featured performer. Younger ears not accustomed to 1940s conventions are likely to find the device terribly "uncool." But this is a warmly emotional if not sentimental and melodramatic song in the best sense of those terms. How can you fault the addition of a choir of angels to a song that is literally "about" angels "watching o'er me"?
   
   In his book on the great American song lyricists, Philip Furia faults Mercer for the lyric he provided for this song, suggesting that the "folk poet's" attempt to match the soaring, exalted Arlen melody was beyond his special talents and falls considerably short. My hunch is that he never heard Sinatra's sublime, deeply moving reading of the lyric, which makes Johnny Mercer sound no less transcendent than a poet like Percy Shelley.

5 comments about The Ultimate Collection.

1. This collection is three and a half hours of absolute joy. Vikki Carr [Florencia Bisenta de Casillas Martinez Cardona] is a living national treasure of two countries...Mexico has every right to claim her, but we had her first...I suppose some may be too young to remember her prime, but this wonderful collection will correct that deficiency...
   
   Here we get all we need to see why Vikki is captivating...studio and live...English and Spanish [even Italian]. Naturally, the BIG HITS are here..."It Must Be Him"..."He's a Rebel" [both lanuages]..."With Pen in Hand". Pop, Latin, Pop Standard, Broadway...Vikki could [and I hear still can] do it all to perfection. And the lesser known numbers are just as charming as the hits. The live performances are wonderful...the girl could really connect with her audience. The comic touches in "Carnival" are delightful.
   
   As wonderful as Vikki is, the presentation makes the experience even better...her bell-clear voice comes thru the transfers sounding vibrant, alive, right here in the room. The packaging and photos are terrific, too. In some box-sets, the whole fails to equal the sum of its parts; not here...this may be the best I own. I love Vikki, and I love this set...I bet you will, too.



2. Vikki Carr sincerely, passionately and confidently performs just about anything on this generous three CD set. You truly owe it to yourself to get this three CD set and experience the wonder of Vikki Carr for yourself. This CD set, my friends, is one to be treasured.
   
   The three CD set gives us so much that I scarcely know where to begin to describe it all to you. You get songs recorded by Vikki in her youth ("San Francisco;" "Bye Bye Blackbird" and "Somewhere In The Night"); and there are songs recorded in her native tongue of Spanish including "Cuando Calienta El Sol;" "Que Sea El" and "Más Que Nada." Vikki even sings beautifully in Italian; she performs "Il Colore Dell Amore (Color Of Love);" "Magari (Forget You)" and "Si E Lui (It Must Be Him)" as only a highly seasoned professional ever could. There are even live tracks on this three CD set that show us the electricity in the air during a Vikki Carr concert; you get "Can't Take My Eyes Off You;" "Some Of These Days/After You've Gone" and "Carnival (Manha De Carnival)," just to name a few. Indeed, each CD boasts an impressive 26 tracks for a total of 78 numbers on three CDs; and the quality control remains very high throughout because Vikki NEVER disappoints.
   
   Vikki can take any song and infuse it with a fresh type of electric energy that I simply haven't heard before. The first CD offers the beautiful "It Must Be Him" about an unrequited love. "I Only Have Eyes For You" is one of many numbers on this set that get a complete makeover by Vikki with the singular beauty of her voice and a more modern musical arrangement that reflects both creativity and good judgment. "The Surrey With The Fringe On Top" gets the royal treatment from Vikki; she delivers this with great panache. "Is She In Love" stuns you with its beauty as Vikki wonders about the loyalty of her man. Awesome! In addition, Vikki's classic "With Pen In Hand" makes me cry--and I never cry; but this ballad is THAT touching.
   
   "Más Que Nada" sports an awesome Latin beat that is infectiously catchy and you will enjoy this song easily without ever knowing a single word of Spanish. "Cuando Calienta El Sol" shimmers as the masterpiece of all ballads in Vikki's care; she performs "Cuando Calienta El Sol" with remarkable sensitivity that touches me greatly. The musical arrangement for "Cuando Calienta El Sol" perfectly complements the beauty of Vikki's voice, too. "Que Sea El" has a "light rock" feel to it mixed with a love ballad flavor so that Vikki can deliver this song from such a new angle that she instantly makes this ballad her own--as she does so frequently on the three CDs in this set.
   
   "Forget You" begins with Vikki singing with just a guitar in the background; when the musical arrangement begins the chorus and the music enhance the beauty of this number. Vikki's voice is rich, warm and vibrant both on this track--indeed, her voice is in excellent form throughout this three CD set.
   
   Vikki also sings the standards. You get splendid renditions of "Bye Bye Blackbird;" and "If You Love Me (Really Love Me)." Her medley of "Some Of These Days/After You've Gone" shines like gold as Vikki delivers this before a live audience. Vikki's rapport with her audience is excellent and the crowd hangs on her every word! Great!
   
   Vikki possesses the rare talent to even add Italian songs to her repertoire; "Il Colore Dell Amore" features Vikki singing with a degree of sensitivity that I rarely hear; and "Se E Lui (It Must Be Him)" glistens more brightly than gold.
   
   The liner notes include the songs credits; Vito Cifaldi III and Randy Cordova also contribute an informative essay about Vikki and her career. The photos of Vikki are terrific and Vikki personally includes a brief "hello" note, too.
   
   If you've never experienced the singular beauty of Vikki Carr's vocal talents it may appear as if I am being effusive or flowery in this review. Fortunately for everyone, I am not exaggerating. Vikki's Grammy Awards and her countless gold and platinum records prove her talent more than my review ever could.
   
   Once in a very, very long while, all the stars in all of the heavens align just so; and a rare jewel like Vikki Carr is born. We are infinitely better off for Vikki sharing her talent with us; and it will be a very long time before we see another quite like her. When the CDs end you want more just as Vikki's audiences always want more. I highly recommend this three CD set not just for Vikki's fans but for anyone who appreciates words and music as a form of fine art. Hopefully Vikki will be performing as only she can for decades to come.
   
   Bravo, Vikki Carr!!!



3. I've been a Vikki Carr fan for a long time, but did not collect a lot of her music until recent years. A friend played some her English CDs for me, and since rediscovering "It Must Be Him" when seeing the film MOONSTRUCK, I was totally hooked. Slowly, I've built my collection of her wonderful English and Spanish CDs (mostly Sony releases), but hit that snag with many out of print.
   
   This gorgeous new import is phenominal! Beautifully restored hits and album tracks, plus a treasure trove of unreleased and Liberty-years foreign language recordings. A standout for me is "Tell Her Of Our Love" on Disc 1. I was also never a big fan of the song "Until It's Time For You To Go" when heard by other artists. Vikki absolutely nails it and I adore the song now, voting her version the definitive interpretation. It is also nice to hear "He's A Rebel" in Spanish (El Rebelde) on Disc 2.
   
   For any Vikki Carr fan, this is a MUST HAVE. Those who want more than just a Greatest Hits, especially of the Liberty Years, look no further!



4. Of all the great popular singers of yesteryear, none had (and still has!) a finer voice or more exciting and effervescent style than Vikki Carr. Her classic 11 Liberty ('63-'70) and 6 Columbia ('71-'74) albums have seen a number of recent compilations and revivals on CD. But none better than this attractive 3CD package selected from the Liberty era, which also contains rare singles and foreign language versions, not to mention superb liner notes and photos. A perfect introduction to a wonderful singer.



5. EMI has truly outdone themselves this time! This box set contains three CD's and each CD has 26 songs - that's a total of 78 songs! There are songs in english, spanish and italian! Each song is a winner, no matter what the language. My personal favorite is "Is She In Love". I truly believe if this song would've been released when it was recorded, it would've been a bigger hit than "It Must Be Him" (which is included three times - in english, spanish (Que Sea El) and italian (Si E Lui).
   The liner notes are the best ever written and there is even a special message written by Vikki herself! My thanks to everyone involved in this masterpiece.

5 comments about Fifty Years: The Artistry Of Tony Bennett (5CD).

1. Aside from Frank Sinata, no greater singer has carved a niche in the collective soul of American popular music than Tony Bennett. For over 50 years, the man who entered this world as Anthony Benedetto has given us some of the best and most beloved recordings of timeless songs that to this day help define our deepest emotions and most important moments in our lives.
   
   This 5 disc collection is a magnificent introduction into the world of Tony Bennett, containing some of the most beautifully interpretted renditions of our most cherished standards by great writers such as The Gershwins, Cole Porter, Irving Berlin, Jerome Kern and other legends of the craft.
   
   Discs 1 and 2 chronicle Bennett's rise to stardom in the early 1950s' to mid 1960s'. Tony proved to be a force of nature right from his first single release, "The Boulevard Of Broken Dreams," which still sounds as fresh and soulful as it did 54 years ago. Throughout the rest of the 1950s', Tony scored a string of hit singles that went on to become defining numbers in the Great American Songbook, including "Because Of You," (a wedding perennial), "Cold, Cold Heart" (a country hit for Hank Williams that Tony helped introduce to the pop world), "Blue Velvey," the timeless "Rags To Riches," "Sing You Sinners" and many other classic hits that he still does to this day.
   
   Also from this classic era are lesser known but eqqually excellent albums such as "While The Music Plays On," the splendid "Ca, C'est Amour," the gorgeous "Lazy Sunday," "I Get A Kick Out Of You," (perhaps the only version that rivals Sinatra's defintive 1953 rendition), a magnificent "September Song" and a swingin' "Lullabye Of Broadway" with Count Basie.
   
   The 1960s' continued to bare more fruit for Tony, including classics such as "The Best Is Yet To Come," "Tender The Night," "Once Upon A Time," the stinging "I Wanna Be Around," and the lush "The Good Life." It was during this period of productivty he cut what to me, are his two best songs.
   
   The first is "I Left My Heart San Francisco," his 1962 hit and (deservedly) his most popular song, a melancholy slice of vintage Americana sung so passionately by Tony against a gloriously understated and utterly breathtaking Grammy winning arrangement by Marty Manning.
   
   The other would be "When Joanna Loved Me," which ranks alongside Sinatra's "I've Got You Under My Skin" and Darin's "Mack The Knife" as one of the most perfect recordiings in American history, a song that represents pure human emotion at its most raw and honest. Tony's singing on this song is sincere and heartbreaking, and remain so to this day.
   
   Discs 3 and 4 mark a period of transition and eventually resurrection for Tony. By the mid 1960s', Tony's appeal began to dwindle, as hit singles had begun to dry up. He still cut quite a few certified classics (among them "Smile," "The Very Thought Of You," "For Once In My Life," and his personal favorite recrding, "I Do Not Know A Day I Did Not Love You"), but by the early 1970s', the music world wasn't as kind to Tony commercially. Artistically, however, Tony was still capable of churning out some excellent music. His collaboration with Bill Evans yielded such gems as "My Foolish Heart" and "But Beautiful," and he turned in a magnificent performance of the "Cabaret" classic "Maybe This Time."
   
   By 1986, Tony had mounted a very successful comeback with "The Art Of Excellence," which yielded his beautiful performance of "How Do You Keep The Music Playing" and the playful and seductive "What Are You Afraid Of." His newfound sreak of good luck continuted with his Irving Berlin tribute, which yielded the beautiful "I Got Lost In Her Arms" and a haunting a capella take on "When I Lost You." Tony also scored a latter day classic with the beautiful "When Do The Bells Ring For Me."
   
   Disc 5 chronicles Tony's 1990s' revival, when he helped introduce the wonderfuls tandrards of the past to a new generation and connected with young listeners and contemporary entertainers. Tony added yet another classic to his reusme with the Fred Astaire tribute "Steppin' Out With My Baby," and teamed with contemporary artists such as Diana Krall ("Alright, O.K., You Win"), B.B. King ("Let The Good Times Roll"), Ray Charles (the amazin' "Evenin'"), and two wonderful duets with k.d. lang ("La Vie En Rose" and "What A Wonderful World"). This disc is an excellent overview of his later years up to today, and Tony is still very much alive, well and performing.
   
   This boxed set contains a superb booklet filled with great essays and rare photographs. The boxed set is affordable and the sound quality is superb. Do yourself a favor and purchase this magnificent collection as soon as possible.



2. Fifty Years: The Artistry of Tony Bennett
   My mother in law LOVED this gift. Had it shipped to her location for Christmas with no problem, and in perfect condition!



3. This boxset is a great start for someone just discovering or long-time fan who wants a great overview of Tony's career on CD, what I love about this set is that features songs that showcase Tony as the Jazz singer, it does feature alot of pop standards but Tony swings on those too! and the ballads are just beautiful!
   and the sound quality of this boxset is awesome!



4. Tony Bennett has always moved me with His voice. from the time I was a child through now His Voice has always been on point to me."I Left my Heart in San Francisco" is still One of My all time Favorite Songs.I dig how He uses His Vocal Tone on Tracks&Keeps things cool.TB has always kept it cool on whatever Project he was working on.



5. Essentially, this IS the "Forty Years" offering plus an extra CD for the past decade. Considering the plethora of gems, especially live music, that must (please God) still be available in the archives, this set is a disappointment to owners of "Forty Years". Of course, its still Tony Bennett, arguably the greatest interpreter of American popular standards, there's lots of music, and the selections are generally solid. However, the sound quality is a bit uneven at times and grossly under-represents his live contributions (shockingly, Carnegie Hall 1962 is still the only all-live generally available recording from his first three decades of output). Still, this collection is the definitive take on Mr. Bennett's musical life work to date. Tony Bennett...long may he live.