5 comments about Solo Concerts: Bremen & Lausanne.

1. I have almost ALL Keith Jarret solo CDs, and this is my favorite.
   Maybe I am biased since it was my first Keith Jarret CD back in high school (wow that was LONG ago), but still it is beautiful.



2. Koln is Jarrett's best known solo piano album. But between Koln and Bremen/Lausanne, the latter is musically the better album. But, my all-time favorite is Facing You, Jarrett's first solo piano album. I own all three in their original vinyl, but I own only Facing You in CD. It is THAT good. Facing You is the kind of music that grows on you. It doesn't pretend to be anything but honest, simple music. Listen with your heart and you will understand what I mean.



3. An enormous work of art.
   
   IMHO, this recording and Jarrett's "Facing You" stand as the pillars on which all of Jarrett's efforts sit. For anyone just getting into Jarrett's work, do not listen to the Koln Concert before you absorb this album. This is the essential Jarrett solo concert album; the one that will give you an even greater appreciation for Jarrett's growth throughout the years of his groundbreaking solo efforts.
   
   I can still smell the vinyl and feel the goose bumps of that first listen.
   
   Listening to it again on CD, after a dozen or so years. I'm still moved to tears.



4. 5 stars? 5 billion stars. An incredible work of TRUE genius. Like so
   many other listeners, I had that green ECM 3 record box set that I listened to more times than I can remember when I was in college. I now
   have the 2 cd set, without all of the pops, clicks, etc. that one had to
   hear as well (since they were vinyl records, and it was a solo piano con-
   cert with many quiet passages). I actually first heard a "cut" of one of
   the record sides one night out of a Rochester, New York radio station (even though I lived in Lexington, KY), and went out and got it the next
   day. A pricey purchase for a 3 record set, but I didn't care. From the
   first gorgeous note to the last, this is utter brilliance. My favorite
   Jarrett recording (and I have many). It still amazes me, since the whole
   thing was totally improvised on the spot in front of a mesmerized German
   audience who were obviously witnessing something VERY special. It has to
   be heard to be believed.



5. I guess my story with this album(s) is a lot like others; my roommate in college bought this set back in 1979 and I had the entire 3 LP collection burned into my consciousness a month later. We listened to this constantly in the 1979-80 school year; I can't count the number of times I would come back to my dorm room late at night and my roommate would be fast asleep and this record would be blaring out of the stereo speakers (perhaps blaring is not the right word...)
   
   When we parted ways in May, I made sure to hold onto my cassette tape. I've listened to it every 5 years or so since then; 25 years later, I still have that tape and it's held up well, but I can't wait to pick up the CD version- I was not aware that it was on CD until I jostled the name out of my memory recently.
   
   Few albums evoke more good memories for me than this album.

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 Trilogy.

1. I purchased this as a gift so as far as the content of the CD I cannot attest. However, the shipment was prompt and well packaged and there were no complications with this order.



2. 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!



3. 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.



4. 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!



5. 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 comments about COLTRANE The Classic Quartet: Complete Impulse! Studio Recordings.

1. Aside from "A Love Supreme", "Crescent", "Ballades", "Coltrane" and various outakes, this is not what I consider Coltrane's best work. The avant-garde style material culled from "Sun Ship", "Living Space" & "Meditations" is really not to my liking. Of course, it could grow on me, like Miles' Bitches Brew, which took a few listenings. As for now, I prefer Coltrane's work for Prestige, Atlantic & Blue Note, featuring such classics as Blue Trane, Giant Steps, Coltrane Jazz, Bags & Trane, Coltrane's Sound, Coltrane Plays the Blues, Soul Trane, Lush Life, Traneing In, Black Pearls, My Favorite Things, etc., as well as his work with Miles Davis and Thelonious Monk. This particular box set, in my opinion, would have been better if it had included the collaborations with Duke Ellington and Johnny Hartman, both released on Impulse! during this time frame. All in all I'm happy I bought this set, primarily because I got it brand new for $30, which is cheaper than buying the 3 or 4 albums which contain the material I like from this set (excluding A Love Supreme which I already had). A great box if you like post-1964 Coltrane, otherwise 3 1/2 stars.



2. Posting a "review" or "critique" of such music? Might as well toss off another review of Merton's Seven Storey Mountain, New Seeds or Asian Journal- and pat myself on the back for CONTRIBUTING something. (To quote Churchill : "slush, mush, and gush." ) But since I've already posted reviews of the Pablo LIVE TRANE set and Merton's INNER EXPERIENCE, you can call me a hypocrite if you want.
   
   Still, I will mention that the transfers are stellar, and the content of this box is as complete as it could have been at the time of release. But in the 9 or so years since that time, and in the wake of producer Bob Thiele's death, some additonal tape sources from his collection have come to light. If I am not mistaken, these include :
   
   1) The tape masters of this Classic Quartet's very first studio date in December 1961, including five takes of "Greensleeves," done "a la My Favorite Things." This was intended for 45 RPM jukebox distribution. (In this boxed set, a vinyl copy of the issued "45" had to be dubbed.)
   
   2) Additional takes from the 1962 COLTRANE and BALLADS sessions, including two relatively short, studio versions of "Impressions" and a newly discovered piece called "Not Yet."
   
   3) A newly discovered tape source for A LOVE SUPREME (December 9, 1964). Until 2002, what we had been hearing was from a 2nd generation tape with added compression and equalization - not to mention a left channel flaw at the beginning of the third track. But a flawless, non-equalized, non-compressed tape source, only one generation down from the original master, was located in EMI's London vaults. (It had been sent there as the basis for British LP pressings.)
   
   Yes, gentle reader, the first-generation tape masters for not only the original COLTRANE and CRESCENT albums, but for A LOVE SUPREME - the album which not only changed countless lives but probably made Coltrane AND Impulse more moola than any other - were reportedly ERASED. (Whoever made that "executive decision" gets my vote for the ANNUAL 'HECKUVA JOB' AWARD.)
   
   Now, I am NOT one of those "original cover art" fanatics - with the exception of the unsurpassedly beautiful album covers which Alex Steinweiss created for Columbia Masterworks, in the late 1930s to early 50s. (He's still alive and kicking : God bless him.) And of course the unique 50s-60s, "post-Bauhaus" Blue Note covers of Reid Miles...But I have to agree with the other reviewers who find this set's metal packaging to be graceless and UGLY.
   
   Even worse, the provided "notebook" sleeves tend to scuff the discs. (Upon purchasing this set, back in March 2000, I immediately rescued the discs by placing them in seperate jewel boxes.) WHEN will you CD marketing people ever outgrow these "clever" absurdities? As if, for all the world, you were aiming a Heavy Metal boxed set at the early-to-mid-teen market? In a full-price historical re-issue, yet? Why should it be "asking too much" to demand packaging worthy of John Coltrane : something durable, "disc-safe," AND clean and simple?
   
   "Classic Coltrane Quartet Completists" (look, Ma - alliteration) who own this set will also have to purchase the subsequent 2-CD deluxe editions of the COLTRANE and BALLADS albums. The new BALLADS tracks are not ABSOLUTELY essential Trane...I have to agree with the reviewer who wrote that seven alternate takes of "It's Easy To Remember" may be too much of a good thing. Not to mention that "Greensleves" works only so well, "a la My Favorite Things," to sit through five takes of it - in spite of the Dorian modality common to both tunes. But the new COLTRANE tracks ("Miles' Mode," "Tunji," "Not Yet," and those two short "Impressions") are obviously more "central" to the Coltrane Canon. For instance, the almost unearthly "groove" which the Quartet reaches in "Not Yet," - captured in astoundingly visceral sound quality - must be heard to be believed. In any case, for completists who must have it ALL, it's out there.
   
   A WARNING : Over 60 percent of this set is composed of the Classic Quartet's final - and highly prolific - sessions of February through September 1965. So if you just aren't into the post-LOVE SUPREME period, but you feel ready for a boxed set of Trane in which to "lose yourself," then you may want to go with the Pablo LIVE TRANE set (Euro concerts from 1961 to 1963)...Then, the Impulse discs : the deluxe edition of COLTRANE, LIVE AT BIRDLAND, CRESCENT and the latest transfer of A LOVE SUPREME. And if post-SUPREME Trane still scares you, then by all means, check out TRANSITION for perhaps the best and most lucid of the post-SUPREME works. (The February '65 tracks which made up the album immediatley following SUPREME - THE COLTRANE QUARTET PLAYS - are actually darker, more dense and harmonically "outside" than some of the work which came just afterwards.)
   
   Granted : overall, the 1965 sessions are a challenge for even the most sympathetic listener (you wouldn't play these at a dinner party), but they give back far more to the listener than they initially demand...which is why I recommend TRANSITION. The "Suite" (June 10, 1965) is a kind of abbreviated, slightly wilder LOVE SUPREME, and for those who will brave it, "Vigil" (June 16, 1965), a duet for Trane and drummer Elvin Jones, is a safe gateway to the post-Quartet Trane (e.g., the February '67 INTERSTELLAR SPACE tracks). But I especially recommend the other two TRANSITION tracks as ESSENTIAL listening - even for those who "want no part of" post-SUPREME Trane :
   (1) "Welcome" (June 10, 1965) is similar to the 1963 "After the Rain," but more serene. It strikes me (and many others) as a stretch of hard-won peace : a tranquil island, if you will, in the midst of an increasingly stormy tonal sea. By comparison, the gentler and better known "Dear Lord" (May 26, 1965) is less compelling.
   (2) To me, perhaps more than any other single recording, the title-track "Transition" (June 10, 1965) is the very essence of Coltrane and of his Classic Quartet. Even before you get to the improvised solos, the D-Phrygian-mode "head" melody is in itself a ruthlessly honest, yet pleading, kind of exploration : bristling and burning, yet lucid and internally CLEANSING. Constantly pushing the "natural" boundries of the tenor sax, Trane aims for notes higher than the instrument is designed to produce - and sometimes gets there. This reaches a culmination from about 11:18 to 12:15, where Trane seems to be caught in a ferocious battle between his inner angels (normal register) and demons ("paranormal," higher register). Listen to this track a few times, each day, for a week, and 'psychotherapy' or 'anger management' may become redundant.
   
   Still, those who truly care about Trane - whether or not they own this boxed set - WILL need to pick up the latest, closer-to-the-source remastering of A LOVE SUPREME (with or without the additional, live 1965 version). The improved tone quality and immediacy IS worth it.
   
   For two essential reasons ( 1 - newly discovered tape masters and 2 - combersome, disc-scuffing packaging), this boxed set could stand a re-do. If it happened, I'd be the first to not only eat crow, but Give Thanks. (Meanwhile, the blue boy in the corner, holding his breath?...That'd be me.)



3. Music on this box set is perfect. I like it, mainly last five cd's. Coltrane's free and soulful jazz is superb. I love his music and his last free jazz" years especially.
   I obtain this box set manufactury sealed with seal. But when I had opened this box set some cd's was lightly scratched. Maybe it is for terrible packaging of this set. Problem is to extract cd's from case.
   But I already have experience with new factory sealed boxes (from different stores) which included lightly scratches cd's. Especially on Sony/BMG and Atlantic labels (for example Miles Davis box sets or Ornette Coleman set on Atlantic/Rhino). Give attention and verify what you are buying.



4. Listening to Coltrane and his colleagues evolve from "Greensleeves" in December '61 to the First Meditations sessions in September '65, is to take part in one of the greatest human journeys ever recorded. The music is almost beyond description: dissonant, beautiful, violent, gentle, sad, exuberant -- a passionate and accurate reflection of the human condition.
   
   A warning to the uninitiated: This is NOT "My Favorite Things," or "The Gentle Side." Coltrane is an acquired taste; he pushes the envelope hard and far.
   
   So, should you buy this set? If you already have most or all of these recordings (see other reviews for the list), you probably won't want to spring for it. If you don't have them, however, it's a no-brainer: you'd have to buy (I think) 12 Coltrane albums, and a couple multi-artist compilations (if you can find them), to get all this material.
   
   Want to hear the original albums? Much (but not all) of the information is provided in the suprisingly useful booklet (most reissue notes are mere blather; not so these), so you can rip the music to your player, and create a playlist that gives you the albums as they were issued. True, you're missing the original artwork and liner notes -- you'll have to buy the albums for that.
   
   The package is OK, except for the annoying aluminum sleeve. Why couldn't they put the set in a simple cardboard slipcase?
   
   The bottom line -- this is absolutely the best jazz box I own. It definitely goes to the desert island, perhaps even if nothing else does. John, McCoy, Jimmy, and Elvin: Thank you, and God bless you!



5. I won't use this space to review the incredible music of the John Coltrane Quartet. Completely unnecessary!
   
   Some reviewers and commentators dislike the presentation of the pieces in the order of their recording rather than organized by albums. I think this is a minor quibble, especially considering that the transition from the LP-era to the CD-era has already "mixed things up" considerably. For example, the modern CD issue of the album "Transition" drops "Dear Lord" and adds two pieces from "Kulu Se Mama." "Dear Lord" shows up on "Dear Old Stockholm," which was not a '60s Coltrane album. "Living Space"-- a current CD-- did not exist then. Some Coltrane pieces ("Vilia" and "Dear Old Stockholm") were released on contemporary albums featuring numerous artists ("The Definitive Jazz Scene, Vols 1, 2 and 3"). The posthumous albums "The Mastery of John Coltrane, Volumes 1 and 2" do not at all appear on CD-- the pieces were diverted to other CDs. So, putting his works in recording order makes sense to me.
   
   A few albums, such as "Sun Ship," the quartet version of "Meditations" and "A Love Supreme," do appear on this collection with all tracks together.
   
   If you have an iPod and a Mac, you can "recreate" the original albums, in proper track order.
   
   The boxed set is limited to studio recordings performed by the classic quartet (with a few minor allowances at drums and bass), thus two pieces from "Impressions" are missing-- you can find them on the Complete 1961 Village Vanguard set--and only two pieces from "Live at Birdland" are included, for example "Alabama." I wish they had made another exception and included the title track to the album "Kulu Se Mama," thus bringing that album completely into this set.
   
   I do agree that it is a shame that the album covers and original liner notes are missing. And I am glad that I have the "A Love Supreme" CD separately.

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 Reprise Collection.

1. This has all the Sinatra favorites. If you need to finish your collection this is one to have.



2. "Acting is integral to Sinatra's singing - not histrionics, but skillful, sensitive acting of lyrics and melody, with definite phrasing, economic use of italics, controlled gestures of voice, face and body, and a foundation of understated passion, he turns each song into a one-act play." ~ David McClintick, Liner Notes ~
   
   This four-CD-box-set, "The Reprise Collection" is a great compilation of Frank Sinatra's recordings during his Reprise years and most definitely a worthy addition to any Sinatra buff and collector. The collection producers, Mo Ostin, Joe McEwen and James Isaacs did a great job in this tribute to Frank Sinatra's 75th birthday and his 30th anniversary as a Reprise artist.
   
   Disc One contains 21 songs and the rest of the CDs contain 20 songs each -all remarkable recordings highlighting the illustrious and bright years of the legendary singer at Reprise. Some of the tracks are previously unreleased. Recording engineer Lee Herschberg made sure that the digital mastering and remixes are flawlessly done. The sound quality is excellent. The packaging is quite impressive and comes with an attached booklet with articles, photos and a thumbnail of 98 Sinatra albums. The interesting and informative articles are as follow:
   
   1. "So Frank Is Seventy-Five" by William Kennedy
   2. "Questions Without Simple Answers" by David McClintick
   3. "The Songs - An Introduction" - list and annotations of all the songs by Jonathan Schwartz
   4. Afterword written by James Isaacs
   
   The selection represents the works of the most brilliant and remarkable Sinatra arrangers/conductors/orchestrators such as Nelson Riddle, Billy May, Johnny Mandel, Gordon Jenkins, Don Costa, Claus Ogerman, Robert Farnon, Sy Oliver, Quincy Jones with Count Basie Orchestra, Neal Hefti, Eumir Deodato, Torrie Zito, Marty Paich, Ernie Freeman, Billy Strange, Joe Parnello and Billy Byers, and also features pianist Bill Miller and guitarist Tony Mottola.
   
   My list of favorites includes:
   
   Disc One: "Love Walked In," "The Second Time Around," "Let's Fall In Love," "Night And Day," "You'd Be So Nice To Come Home To," "Come Rain Or Come Shine," "What'll I Do?" "I Get A Kick Out Of You," "The Last Dance," "All Alone," "A Garden In The Rain," "A Nightingale Sung In Berkeley Square," "Don't Take Your Love From Me" and "Without A Song," with lyric that ends with . . .
   
   "I'll never know what makes the rain to fall
   I'll never know what makes the grass so tall
   I only know there ain't no love at all without a song."
   
   Disc Two: "The Way You Look Tonight," "Moonlight Serenade," "This Is All I Ask," "Fly Me To The Moon," "Oh You Crazy Moon," "Pennies From Heaven," "The Best Is Yet To Come" and "I Have Dreamed," and of course "America The Beautiful" and "California."
   
   Disc Three: "I've Got You Under My Skin," "The Shadow Of Your Smile," "Wave," "Indian Summer," "How Insensitive," "Once I Loved," "Dindi," "I Concentrate On You," "You Make Me Feel So Young," "Summer Wind," and "Something Stupid."
   
   Disc Four: "What Are You Doing The Rest Of Your Life?" "More Than You Know," "Send In The Clowns," "It's Sunday" and "The Song Is You," with beautiful lyric that ends with . . .
   
   "Why can't I let you know the song my heart would sing?
   The beautiful rhapsody of love and youth and spring,
   The music is sweet, the words are true
   The song is you."
   
   I could go on and on with all the good things about this set but suffice it to say that this is one of the best-ever compilations of Sinatra recordings and I wholeheartedly recommend it to avid Sinatra fans.
   
   In closing, I share Mr. Isaacs sentiments written on the Afterword . . .
   
   " . . . Most of all, thank you, Mr. Sinatra for a monumental body of work, and for speaking to me when seemingly no one else could. Over the past 50 years perhaps 100 million other human beings have felt the same." ~ James Isaacs, August 1990 ~



3. Along with The Columbia Years, The Capitol Singles Collection, and Sinatra in Vegas, this is a must-have for any Sinatraphile. His Reprise years saw some great ballads and some excellent re-makes of older Sinatra classics. Because of the occasional inconsistency of Sinatra's later Reprise releases, this boxed set is an economical way to get the best of his later work without buying the later albums.
   Sound is excellent, and the set comes with a good booklet on Sinatra as well.



4. Few vocalists pack the drama, emotion, and swagger of Frank Sinatra and "The Reprise Collection" compiles Frankie at his best during that era. You couldn't possibly pack EVERYTHING her recorded on Reprise into a box set...it would be enormous! This covers the gravy of his recordings for Reprise from 1960 to 1986 and shows his career trajectory during those many years, going from a middle-aged pro to the twilight of his years. Anything and everything is pretty much here, from "Something Stupid" to pop classics like "New York, New York" all delivered in the inimitable Sinatra style. Reading over the track listing is a trip down memory lane and so many of these tracks were signature songs Sinatra defined and owned. Of course there's the age-old debate about whether his Capitol or Reprise years were his best; I say who cares! Pop these CDs in and you'll see Frankie was still the consummate artist until almost the end.



5. This is a great value if you are looking for the many highlights of Frank in the Reprise years. This will give you many (not all) of his great recordings. This will save you much time and money vs. trying to find many of these songs individually.
   
   In short: gives you alot of songs for the money. However, there is much more out there during the Reprise years to discover.

5 comments about Four Women: Nina Simone Philips Recordings.

1. I walked into a music store a few years ago to sample some songs. One of the artists whose music I sampled was Nina Simone. The moment I heard Don't You Pay Them No Mind, I could not leave the store without this collection. So I bought it instantly, and I was extremely glad that I did. This song became one of my top favorite songs on itunes overnight. This is very hard because very few songs make it to this list since I have a tendency to play special songs repeatedly, which makes it difficult for other songs to get up there. I listened to it over 200 times, but while I no longer have access to itunes due to my computer crashing, I'm sure that if I could check the number of times I have listened to this song on my ipod, it would be over a thousand times. But this is not the only good song, everything is extraordinary. Since that day I have been listening to this collection. It is one of the greatest collection of any of my favorite artists that I possess. I will never let this collection out of my sight.



2. My wife loves this. The original came with a problem, and the return and reshipment process was lightning fast and hassle free.



3. Like many of Nina's Fans, I already own just about every CD /LP issued on Nina, including her work for the Philips label. At first I thought plunking down $35 on this 4-CD box set was redundant, especially when I have the songs. Then I heard about the extensive project and digital sound remastering Verve/Universal was undergoing for this collection, and it seemed worth the price. By the way, some have accused Verve/Universal of "Cashing In" on Nina's sudden passing in 2003 with this collection since it was released only weeks after her death in April 2003. Actually this project was commissioned by Universal in October 2002. The box set was a work in progress six months BEFORE Nina died.
   
   The beautiful leather-bound box set houses each of the four CD's in a separate sleeve. What sets this Nina Simone Anthology apart from all others is the extensive 56-page book --- full of rare, never-before-seen photographs of "The High Priestess of Soul". There are detailed liner notes about the songs, their historical context and some behind-the-scenes "dishy dirt" about Nina's tempermental clashes with producers, songwriters, musicians, and other artists. No one can ever accuse Nina Simone of being BORING ! Upon playing the CD's, the first thing you notice is how gorgeous it sounds with every nuance and detail of Nina's voice and music captured. If you already own the Verve CD's, believe me, listening to this box set is like hearing them for the FIRST time. It's THAT good !
   
   If you are a die-hard Nina Simone Fan, I advise you to get this box set while you can. Universal/Verve is no longer producing these since they are costly to make. There are still plenty in music stores like Tower, Virgin, or even here on Amazon. If you see this marked down to a good price (anything within $30) -- GET IT !! Many of Nina's Fans will argue whether the Philips Years were her BEST. I do feel the music she recorded up until 1968 are absolutely ESSENTIAL, so this Philips Collection is part of that era.
   
   After 1968, I feel her music started to veer in a new direction. She was taking on too many cover songs sung by other artists (Bee Gees, Dylan, Byrds, Sinatra). She was also taking a long, hard look at the socio-political situation of the Sixties. Not that these issues don't matter, but the music sounded different. They often come off as hard-toned and militant. At Philips, even though she did songs like "Four Women" and "Mississippi Goddam", there was none of the bitter tone or militancy associated with her RCA recordings. With the exception of her first release for RCA "Nina Simone Sings the Blues" (which is another essential MUST HAVE), the RCA years found Nina singing less and less songs about matters of the heart and more about the tumultuous socio-political climate around her. She was also ill-advised to record TOO MANY cover songs by other artists after she left the Philips label. It seems her own uniqueness and originality had deserted her. Sometimes these songs sound ill fitting. If you listen to her cover of the Byrds' "Turn, Turn, Turn", you get the sense she sounded BORED with the material. One does not get this impression with the Philips recordings at all. Even when she covers an important politically-charged theme like lynching in "Strange Fruit" (originally sung by the one and only Billie Holiday), Nina's version was fresh, electric, and shocking in her own unique way. That is one good example of doing a protest song and still sounding musical and political at the same time.
   
   The Philips Years - Four Women Box Set captures a unique, maturing woman and artist at the absolute peak of her artistry and musicality. Get it while you can !



4. One cannot think of jazz in the 1960's without thinking of Nina Simone; a dignified and talented singer, pianist and songwriter. This box set includes all 7 albums recorded with the Philips label. From "Don't Smoke In Bed", "Mood Indigo", "Nobody Knows You When You're Down and Out" to "I Loves You, Porgy" you will enjoy taking a stroll down memory lane with all of your favorites by Nina Simone. This is a definate 'must have' for all Nina fans.



5. This is Nina Simone at her consistent best.There are other definitive tunes,ones that she made her own, here and there on other anthologies but no other collection really represents her as well as this.Her piano playing and vocals and the material covered reveal the artist at her most adventurous and at the peak of her powers.This collection shows her probing the boundaries and succeeding more often than not.A great collection.

5 comments about The Complete Decca Recordings.

1. I didn't think I would like this set very much, but I couldn't find anything written anywhere that said anything bad about these classic Decca recordings. In fact, most sources consider this a "cornerstone" of a jazz music collection and The Penguin Guide to Jazz Recordings: Eighth Edition (Penguin Guide to Jazz Recordings) makes this part of their "core collection". Rightly so. The sound is terrific, the music is wonderful, and Basie and his players sound like they were having fun when they were ripping through these classic tunes. I went in with high expectations and low hopes, but my expectations were more than met and my lack of faith unjustified. This is another "must have" compilation for any jazz enthusiast.



2. Others have commented on the music. I want to talk about the sound quality. It's unbelievable! There is almost no scratch, pop, or surface noise on any of these CDs. And they didn't just roll off the highs. You can hear everything. Even the hi-hat, so important in swing music and so often cut out by noise reduction, is right there at all times. Hard to believe these were recorded in the 1930s.



3. If you find the price or quantity of material here daunting, be aware there is a single CD The Best of Early Basie that is culled from this box set. Same fine remastering



4. This is my favorite Swing band in one of it's most memorable periods. The three cd set is in overall great sounding quality. The big asset here is the highly informative accompanying booklet with discography. There is a noticable error in the booklet on the photo caption page 17. That photo is obviously NOT in "San Francisco 1939" but rather at "The Famous Door" NYC (compare it to the photo on page 19 - look closely at the background). "The Famous Door" was noted for it's crowded setting and mirrored ceiling. Also i doubt the photo on pg 22 is "The Famous Door" (perhaps that is San Francisco...who knows).
   
   But if you want a comprehensive Basie Box Set during the 1930's at a great price pick this one up.



5. This is a GREAT band, GREAT set; my only beef is that many of the records are not pitch corrected. Any remastering engineer should be conscious of the fact that the Basie band didn't often (if ever) play in three or four sharps, and that 78 rpm is only a starting point for pitching shellac records. Finding the correct pitch (all too common a problem) makes a huge difference to the perception of a performance, and these engineers missed the boat a lot on this set. Bring in some musicians, guys, You need help here!

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.

5 comments about Exclusively for My Friends.

1. If your a Peterson fan,this is the 'loin cut'.In this well-rounded collection,there are two trio formats, including the high calibre playing of SAM JONES and RAY BROWN,BOBBY DURHAM,ED THIGPEN,AND LOUIS HAYES on bass and drums respectively. All provide exceptional support throughout this collection.And in addition,Peterson presents us with a beautiful set of solo piano pieces which could well be considered the 'companion' to his other brilliant solo recording,'TRACKS'.This comes very highly reccommended, as it represents the quintessential example of piano performances in the trio and solo platforms at the very highest level from one of the greatest legends of the piano in modern jazz history. Highlights for me were 'AT LAST LONG LOVE',and'TIN TIN DEO',which are great examples of how much can be done in the 'trio platform'with good arranging,and gorgeous solo interpretations of 'I SHOULD CARE','WHO CAN I TURN TO', and 'BODY AND SOUL'.On all three Oscar starts in a rubato format,where he lays down those 'fat' sonorities which only the largest of hands can pull off,those lush and dense voicings,the prototypic signature voice of Oscar Peterson.Then some more reflective pieces'LIKE SOMEONE IN LOVE',and,'I'M IN THE MOOD FOR LOVE'(an exhaustive study of the possibilites in the approach to the re-harmonization of chords,especially in the alteration of dominant functions),'LITTLE GIRL BLUE'for it's plaintive and recflective aura,as it floats away on Debussy/Ravel-like harmonic textures.'BYE BYE BLACKBIRD',in which Oscar provides us with a virtual masterclass in the art of 'block-chord' playing.And finally,'LULU'S BACK IN TOWN',a great example of genuine stride-piano.Peterson 'digs' right through this one. EXCLUSIVELY FOR MY FRIENDS is a marvellous collection you can return to again and again over the years for your listening pleasure.The whole package is a real treat!Enjoy.Health and Happiness.
   
   



2. This album (4 CDs) has several of the masterworks of Oscar Peterson who is (without any doubt) the greatest jazz piano virtuose ever.
   
   Since I was a child I listen Oscar Peterson albums and I can guarantee you that it is a very nice emotional experience.
   
   As a pianist I know that it will be very difficult for the world to produce another pianist with the dexterity and sensibility of Oscar Peterson.
   
   I was owing him this review.
   
   Absolutely phenomenal.



3. I wore these records out when they first were issued in the Sixties. It is wonderful to have them available in CD form. They represent Peterson at his best--superb rhythm sections, completely involving performances by Oscar, and what has to be one of the best sounding live recordings ever made of a jazz musician. Just like being there. I see they have also been released on SACD. Hard to believe these recordings could sound any better. In my opinion this set contains some of the greatest jazz piano ever recorded. Peterson could be flashy and glib, but not here. Just deep swinging jazz, with great blues playing underlying nearly every selection.



4. 
   When Hans Georg Brunner-Schwer decided to record and produce Oscar Peterson on several albums in the 1960s, Peterson was given free reign to play the way he wanted to play. Brunner-Schwer (the founder of Polygram Records) managed to record what are arguably Peterson's finest recordings.
   
   Peterson plays a hybrid of swing, bop, and rag on these exquisite recordings. With a combination of Art Tatumish ornamentations, block chord improvisations, and orchestral highs and lows, Peterson managed to be subtle and showy without ever compromising his musicianship or insulting the intelligence of listeners.
   
   There are almost too many highlights to mention in these recordings. Yet a few stand out. Peterson glistens and swings on Gershwin & Gershwin's "SUMMERTIME". His brooding and lengthy interpretation of McHugh & Fields' "I'M IN THE MOOD FOR LOVE" is without comparison and is perhaps the definitive Jazz piano interpretation. He displays his perfection at dynamics with the Benny Carter chestnut "WHEN LIGHTS ARE LOW" which begins with solo piano, merges into a slow soft-shoe trio, then builds to a blues-drenched crescendo. This compilation features a diverse array of standards as well as Peterson's own compositions "SANDY'S BLUES" and "NOREEN'S NOCTURNE". Disc Four grants the listener the treat of Peterson playing solo piano.
   
   No serious Peterson fan can afford to not own his recordings from this period. No serious Jazz fan will find a more coherent and listenable compilation. The Non-Jazz fan will be converted. Worth every penny!!



5. The are some great musical artists that have drawn me into different kinds of music (e.g., the Beatles, Leontyne Price, Mary Chapin Carpenter). After many years of listening to music, I finally got into jazz through Oscar Peterson's great playing. Although I listen to other jazz artists, Peterson is still the most satisfying. These recordings have some of his best playing, with great sidemen. If you love jazz piano, this is set is well worth the price.