5 comments about Masterpieces: 1926-1949.

1. This as a wonderful 3CD set with an incredible 68 tunes. The sound is great, and includes just a hint of 'hiss and pop' on the earliest recordings, (as it should), so you can imagine the 75 rpm record spinning and this jumping jazz coming out. Melodious masterpieces from the maestro.
   Foxtrot anyone?



2. This four disc set is just fabulous. It has many songs that I was having a difficult time finding. If you are new to Ellington this is a great place to start. And even if you have already known what a genius this man has been since he was born you'll love this set.



3. Recently had a 80th Birthday party for a family member. Showed pictures of his life story with Duke playing in background. Guests his same age as well as the birthday boy throughly enjoyed the moment.



4. This has blown me away.
   A bargain considering the price I paid for four disks.
   I love the variety and tones of the music.
   This collection spans several different styles.
   It's just wonderful.
   
   There are some old recordings here, which are authentic and par for the course.
   It would seem unreal if they were digital smooth.
   The classic feel of the sound just ads to the experience, and does not detract.
   I have hours of great music here.
   Enjoy!



5. Some of the reviewers have complained here that these are not the definitive versions. I have to say one of the delights of listening to "Jazz" of this quality is listening to different versions of each song. As a matter of fact that's a KEY issue. Ellington probably never played any of these songs the same way twice. That's just how it works. These guys were constantly exploring different ways to play it and different sound combinations, and that's a big part of the enjoyment. Isn't that an essential component of Jazz? Constant surprise. For me owning zillions of Ellington versions of stuff is wonderful.
   
   This box set has some pretty good sound, execllent in some places. Maybe not the very very best all over but heck there is some great stuff on here. I'm really digging it. On any recordings this old you have to use your imagination to really understand the amazing aural qualities that live performances must have had. If you give it a chance the essential information about sound that Ellington was transmitting will come through.

2 comments about The Gene Krupa Story.

1. ...is presented by this splendid four-disc set. Disc One heralds the formation of Krupa's own band and the early numbers are hot and jazzy, up-tempo, pure instrumental, soloists strutting thier stuff and Krupa letting folks know this is not going to be a "one man band." Nothing revolutionary about the jazz but the tunes are great.
   
   Next, he experiments with singers, at first just for a few refrains--until he connects with Anita O'Day. Then things absolutely sizzle and skyrocket!
   
   O'Day appears throughout most of Discs Two and Three and in my opinion these numbers mark the high-water point for Krupa's band. O'Day seemingly never met a song she couldn't wrap into her own distinctive style. She's no vibrato, but her terrific inflection may have been exceeded only by Billie Holiday. Here's O'Day with Eldredge on "Drop Me Off Uptown"; O'Day with "Stop! The Red Light's on"; a softer "And Her tears Flowed Like Wine," almost ominously foreshadowing her future.
   
   She leaves and the band is rudderless. They've moved into swing and beyond just having any old "girl singer" but no one, not even a good vibrato, can meld with the band as one unit like O'Day could.
   
   The latter part of Disc Three reveals a bit of a struggle post-O'Day. Disc Four is all live recordings, which to me couldn't compare to all of the studio numbers on Discs One-Three. From what I've read, half of the thrill with Krupa was seeing him sweat, sweat, sweat and kick it up live, live--so I wasn't surprised that the recorded live numbers seemed just OK
   
   So this to me is an exciting microcosm of a lot of what happened to the music in general during these years--from beginning the then-"hot thing" of jazz, through youthful enthusiasm, to swing and mature experimentation (blending O'Day with exuberant instruments), settling into the comfortable but struggling final chapters.
   
   Which is not to say it's not worth getting--it most definitely is. With a few exceptions (e.g., "Massachusetts") the sound is great. As with other four-disc sets in this fabulous collection (e.g., Roy Eldredge, Lester Young Stories), the extensive liner commentaries and personnel notes are extremely revealing and informative.
   
   But most important, I'll wager you'll find yourself playing Discs Two and Three over and over, closing your eyes and easily imagining what it must have been like to see and dance live to the Krupa/O'Day band. At this price, that thrill can't be beat!



2. Though there are many Krupa albums, after his big band days, this four CD set, concentrates on his big band days. Tremendous performances and vocals by Anita O'Day!!

   Though true fans of Gene Krupa have to purchase all the Benny Goodman recordings he did, and especially his '38 immortal Carnegie Hall concert, which contains Krupa's immortal 14 minute "Sing, Sing, Sing." That song is the only one that is not contained on this release, but every other one is!! Just take a quick look at other big band era releases of Krupa and you will find many have very few songs, or even those which have full CDs, none can compare to this set. "Stop! The Green Light's On", with its Roy and Anita contributions is on very few compilations, yet it's here!! The fourth CD, contains live and radio transcriptions which sound tremendous and are perhaps, the most energetic of all the CDs. Also these radio recordings are in incredible fidelity, and I do not see the titles elsewhere. His version of "Rhumboogie" is the best, as his tremendous cover of "Begin the Beguine", which uses Ray's trumpet as the melody, instead of the clarinet......inspired, and original, but what else from Mr. Krupa??

   There are a few sound problems, as some tracks sound much better than others, and even a few tracks start out great, but the sound deteriorates within the selection itself. But, since there is NO other comprehensive Big Band Krupa set on the market, you cannot go wrong with this one. While Gene may not have had those titles that you automatically identify with other top bandleaders of the day, after just one listening to this fantastic set, you WILL wonder why!!

   Tremendous packaging, beautiful, and the cost is so low. This is one set you cannot pass up. Of course Gene Krupa went on to many other great recordings, past his Big Band Days, they were on different labels, and I would rather this FOUR CD set, just concentrating on his '39-'46 recordings. For his Verve albums, they are in print in their entirety. This is the BEST release of one of the truly great Big Band leaders..............and the BEST drummer in history...........Mr. Gene Krupa!!!

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 The Complete Riverside Recordings.

1. I've been a Wes Fan for close to 15 years. I'm a jazz guitarist, and Wes inspired me to play. So, when I heard that Mosaic records was discontinuing this compilation - and having only owned 5 of Wes' 12 Riverside ablums, I decided to purchase this. My primary motivation relates to Concord Records purchasing the rights to Fantasy Records, which owned the rights to Wes' music. For years, I had received catalogs from both Fantasy and Concord; in 1998, both reissue programs were strong, and I was immediately aware of each company's instinct for preservaton when I scanned through their respective catalogs. However, over the years, Concord's catalog dwindled to next to nothing, while Fantasy (emboldened, to be sure, by the royalities from Creedence Clearwater Revival's recordings) remained strong. Now, with Concord purchasing Fantasy two years ago, I'm starting to see "out of print" next to my favorite artists' Riverside, Prestige, and Milestone records. So, I picked up this boxed set, having already owned "Boss Guitar, "So Much Guitar", "Bags Meets Wes", "Full House", and "Wes Montgomery Trio". As with the reissues of the individual albums, Riverside places alternate takes after the master on these discs. Perhaps a more organized approach would have been to reserve the alternate takes for their OWN cd in the set. This would have solved the problem of continuity, mentioned by others on this page. However, what I have not seen mentioned, and what is INEXCUSABLE ON RIVERSIDE'S PART, IS THAT THE ORIGINAL LINER NOTES TO EACH ALBUM ARE NOT INCLUDED. An album is more than great music. I could easily give this boxed set 5 stars for content, because Wes was a genius. By virtue of being an artifact, an album becomes a window into another time. Riverside has done us a great service by reissuing this incredible oevure. However, if you are a fan of preservation like me, please keep these deletions in mind.



2. There is a staggering amount of music in this collection -- 12 full CDs worth! On one hand, this boxed set is a convenience for a true Wes Montgomery fan as it gathers tracks not just from releases where he was the frontman, but also from his collaborations with other Riverside artists where he was billed as a guest or supporting role; plus there are alternate and unreleased takes of several tunes. On the other hand, this collection is almost too much of a good thing ... choosing which CD to play is like standing at an unlimited buffet of comfort food and knowing your eyes are bigger than your stomach!
   As was noted above, the packaging is the weakest part of this compendium, but only because it does little to help the owner differentiate one CD from another; the three quadruple-CD jewel cases are identical in appearance, and original (1960s) album content is sometimes split between CDs. This becomes even more confusing when there are multiple versions of the same song presented on different CDs -- remember, every one of these selections are instrumentals. The documentation is good to excellent though, as the boxed set comes with an LP-sized booklet filled with photographs, discography and biographical information.
   In general, for Montgomery the Riverside years were more enjoyable (even if less commercially successful) than his subsequent Verve years. Much of his Riverside output resulted from trio, quartet or quintet ensembles, sometimes including one or both of his brothers, and was rooted in the sensibilities of jazz club improvisation. Be forewarned, though, that some of Montgomery's Riverside collaborations were forays into stringed orchestration or other stylings not 'typical' of a be-bop jazzman; however, compared to his later Verve material these experiments are softer, sweeter and less contrived sounding than the brassy, punchy pop arrangements of later albums like GOING OUT OF MY HEAD.
   I have no qualms about the sound quality of this collection; these performances were originally recorded with analog equipment and under the recording conditions typical of a fledgling label in the late 1950s/early 1960s. But the playback is free of pops, hisses, dropouts, etc. and is in stereo so there is little reason to complain; these aren't wrinkled 'demo' tapes, crackling and tinny radio appearances or bootlegged live recordings that sometimes round out similar 'complete' collections. Nearly everything in CRR represents studio recordings with the exceptions being the live tracks that originally comprised the excellent FULL HOUSE album.
   For the casual jazz listener who isn't sure if this collection would suit his ear, I recommend GROOVE BROTHERS or FAR WES (non-Riverside recordings that predate/coincide with Montgomery's first sessions with Riverside and feature his brothers accompanying on piano and bass) or FULL HOUSE (my favorite material on CRR). I also recommend VERVE IMPRESSIONS: THE JAZZ SIDES, with particular emphasis placed on the reconstructed SMOKIN AT THE HALFNOTE live material.



3. The ability to move the most casual of listeners as well as hard-core music lovers is quite unique. Frank Sinatra had such a gift as did Miles Davis. Jazz guitarist Wes Montgomery ( 1925-1968 ) should surely be added to that rare category of musician who exudes effortlessness; a genius that extends far beyond ( mere ) virtuosity to touch the souls of people long after their own departure.

   Montgomery's brief recording career has often been described as consisting of three phases, each categorized according to the record label he worked with.

   1. "Riverside" years ( 1959-1963 )
   2. "Verve" years ( 1964-1966 )
   3. "A&M" years ( 1967-1968 )

   Wes' work with "Riverside" ( featured in its entirety in the complete box set under review ) is rightly acclaimed as the high point of his career, consisting as it does of his playing in straight ahead jazz combos ( quartets/quintets ), organ trios and even towards the end, a "string" date ( somewhat awkwardly titled "FUSION" ) that prefigures his later work.

   Wes Montgomery was a very consistent artist, so one will not find many mediocre recordings in his oeuvre. Nevertheless, there are particular highpoints:

   "SO MUCH GUITAR" (1961) features a good mixture of tunes and an interesting group consisting of Hank Jones, Lex Humphries, a young Ron Carter on bass and the congas of the popular sideman Ray Barretto. Wes' unaccompanied version of "While We're Young" is breathtaking.

   "FULL HOUSE" ( 1962 ) is an exciting live date ( the only one for "Riverside" ) in Berkeley with a superb backing band ( Miles Davis' working group ) of Wynton Kelley, Paul Chambers, Jimmy Cobb plus the tenor saxophone of Johnny Griffin. Unfortunately, as with the great majority of "Riverside" albums, the lush beauty of Wes' Gibson L-5 was not captured properly. Anyone who knows Wes Montgomery's playing is aware that his tone is absolutely unique; Kenny Burrell and George Benson are some of the few guitarists that come close to Wes' warm ( almost acoustic ) sound.

   For this reviewer, the all-time greatest music Wes Montgomery ever put to wax is heard on "BOSS GUITAR" ( April 1963 ), cut with hometown friend Mel Rhyne on organ and Jimmy Cobb on drums. What sets this LP apart from the others?

   1) Repertoire:

   It is carefully programmed as a balance of blues + ballads + bop. Two of Wes' best original tunes are here ( "Fried Pies" and "The Trick Bag" ). Some tunes have Latin/Bossa feel ( "Besame Mucho" and "Canadian Sunset" ) while standards such as "Dearly Beloved" and "Days of Wine & Roses" are taken at varying tempos ( the former taken at an incredibly fast clip ).

   2) Performance:

   Wes was unbelievably "on" for this session, even by his Olympian standards. Some of the melodic lines that come out of his improvisations are impressive enough to be considered "tunes" in themselves. His improv on the ballad titled "For Heavens Sake" can bring tears to the eye. Also, having an excellent drummer like Jimmy Cobb really helped the music lift off ( what great jazz album has a poor performance by the drummer? ).

   3) Sound:

   The engineering on this album comes closer than most other "Riverside" albums in revealing his beautiful tone. While not as rich as his later "Verve" releases, "BOSS GUITAR" is notable for its sound quality.

   Wes Montgomery's "story" is fairly well known amongst aficionados. A self taught guitarist ( starting at age 19 ) inspired by the pioneering work of Charlie Christian, he avoided touring for the most part and plied his trade in an endless succession of gigs at bars and after-hours clubs in his native Indianapolis throughout the 1950's ( this while holding down a day job and supporting a wife and family! ). Many dates would take shape in the "organ trio" ( B-3 organ, guitar, drums ) format common to the era; others were shared in the company of his two musician brothers ( Buddy and Monk ).

   Eventually Cannonball Adderly got word of this phenomenon and checked him out in person. Immediately, the great alto saxophonist urged his producer to sign Wes to their label. Shortly thereafter the LP titled "THE INCREDIBLE JAZZ GUITAR OF WES MONTGOMERY" ( 1960 ) came out and he was quickly acclaimed as THE great jazz guitarist ( critic Ralph J. Gleason referred to Wes as the "best thing to come along since Charlie Christian" ). To judge from his influence in the years following his unfortunately early death, Wes Montgomery may well be the most influential jazz guitarist of all time. Certainly he is one of a select few that one can consider in the same breath with the horn players that have traditionally dominated this dynamic art form.

   It seems a bit churlish to give this deluxe box set less than a 5 star review. My rationale is that the savvy music fan is able to pick out a number of albums from Wes' overall catalog ( not restricted to "Riverside" releases ) for far less money and still get a better view of his artistry. This obviously will not work for those of a "completist" mindset, but the majority may wish to follow the suggested route in building a solid collection of Wes Montgomery's music. This reviewer believes that the previously mentioned albums are quite representative of Montgomery's best work on "Riverside" and while his "Verve" legacy is not as esteemed by hardcore jazz fans, three in particular stand out as excellent: "IMPRESSIONS" (esp. the second CD, a 1965 date at the Half Note in NYC with Kelley, Chambers and Cobb ), "THE DYNAMIC DUO" ( 1966 with Jimmy Smith on organ ) and "TEQUILA" ( string arrangements by Claus Ogerman in 1966 date; the most successful combination of "popular" and "pure" Wes ).




4. Wes Montgomery was, as a matter of fact, a musical genius. full stop. I haven't enjoyed jazz as much as this a long time, although I own ~200 Jazz CDs and can't stop buying new ones all the time. He is simply able to improvise GREAT solos and to play with much feeling. His sound is very unique as a result of his special picking (no pick, just his thumb) and his heavy use of octaves. The selections range from (real great) trios with just drums and organ supporting Wes, to quintets or sextets. The sound quality is quite OK, it's just that this stuff is quite old and can't sound too great. Nevertheless, you're not annoyed by unwanted distortion or whatever. In my opinion, the riverside albums of wes are better than the on he released later (Verve), I just hate it when he's accompanied by strings. Although his playing is then great, too, everything sounds so cliché-like and sometimes just like elevator music. The packaging is... well, ok, this seems to be the weakest point of the set: you only get 3 double-CD-packs stuffed with 4 CDs each. My recommendation: If you like jazz, buy this one. If you need an introduction first, buy "The WM Trio" or "The incredible Jazz Guitar of WM". This box set features every track he has released under the Riverside label plus alternate takes.



5. At the age of 49, after being a Wes Montgomery fan for over 35 years, and, after wishing for this wonderful set of music since it was published several years ago, I have finally found Nirvana. EVERY SINGLE SELECTION on the entire set is wonderful. Not a bad piece in the box. Here is Wes as I've loved him over the years. Young, honest, brave, energetic, romantic, OUTSTANDING! Giving no quarter, taking no prisoners, straight ahead and way ahead of any of his contemporaries - Wes Montgomery, The Master at Work. Buy it, savor it, love it. What more could a Wes Montgomery fan really need?

4 comments about From Spirituals To Swing.

1. To me all the gold is in the prewar Count Basie Orchestra and this is the glue that holds together these recordings. Purely from the standpoint of Basieism, this is a crucial and important record.
   
   
   The way that the sound has been remastered and recorded in this edition of the recordings, gives us the best real view of the Basie Orchestra on any live album I have ever heard that was cut before WWII, and better sound than some postwar live shots. Part of this is because of the superb natural acoustics of Carneige Hall. Part of this is that these concerts were recorded with actual recording equipment, while all the other live prewar Basie I know of are home wire recorder recordings of radio broadcasts.
   
   
   We get to hear the full extent of Joe Jones' hard drumming with the band, something that doesn't come through even on studio recorded Decca and Columbia sides during the 1930s and 1940s. Joe's reputation as little more than a time keeper playing in unison with the rhythm section will die after you here the full Basie band selections on this CD. He is constantly dropping bombs and beating the heck out of the bass drum, without spoiling the perfect swinging time, he is famous for.
   
   I really love the great solos by Lester Young on the big band pieces and am glad that we have a full version of One O'clock Jump, as most live versions of the tune are short sections of the tune that Basie used as an introduction or a sign off.
   
   A lot of the richness here is in the mixtures of Baseities and the other musicians. We hear Helen Humes singing with James P. Johnson, whom she had recorded with in the 1920s, accompanied by Basieites. Likewise, veterans of the band filling out a band for the great Sydney Bechet.
   
   The treat here is the selection of small group Basie tunes both from the Spiritual to Swing concerts and from recordings John Hammond Sr. falsely put on the previous two-lp version of Spirituals to Swing that Vanguard issued in the 1950s. The actual concerts included the Kansas City Six, a small band of Basieites and electric guitar wizard Charlie Christian. Christian, from Tulsa, had broken into Jazz in Kansas City and in his native home of Tulsa Oklahoma. He'd known the Kansas City rhythmns and some of these musicians for years. He picked up electric guitar from Eddie Durham, who played standard guitar, National steel guitar, and trombone for the Bennie Moten Orchestra, Jimmy Lunceford, and for Basie.
   
   In fact during this period, Bennie Goodman tried to discourage Christian's jamming with the guys from Basie's band, because he was afraid he would leave Goodman's band and join his old compatriots. Goodman used Christian, and other black musicians such as Lionel Hampton and Fletcher Henderson recorded in his small jazz combo which you hear on these recordings. Goodman kept his big band all white to make segregated movie and hotel engagements that would not have permitted a mixed band at the time.
   
   A less glorious legacy here are the Kansas City Five recordings. These are three studio recordings John Hammond made of members of the Basie Band led by Lester Young, probably in early 1938 when the Baseites were still under contract to Decca and not Columbia where Hammond was an A & R man. In an LP version of these concerts in the 1960s, Hammond added some of these KC 5 recordings as being part of the concerts complete with a faked introduction with his voice electronically alterted to sound young and fake applause. They are really nice smooth swinging music well recorded.
   
   Someone should have the brains to select both sets of small group Baseite recordings on these CDs, the small group Basie recordings made for Decca and Columbia, and the 1930s small group Kansas City recordings made for Commodore and put out one CD. Hmm, can't may computer make that mix?
   
   Just one note here on a completely different subject. We see the kind of paternalistic stereotyping of Black musicians, especially bluesmen, as primitives, in the introduction of Big Bill Broonzy at these concerts. Broonzy is introduced as an Arkansas farmer who had to buy his first pair of shoes to make it to Carneige Hall. Of course, Broonzy had been making blues recordings in Chicago for about 10 years before the Spirituals to Swing concerts. All the sides he cut for Bluebird's Chicago Blues straw boss Ezra Melrose, all the bar, theater, and house party gigs Broonzy had cut in Chicago must have bought a lot of shoes.



2. Wonderful performances by an all star line up. I agree with the previous reviewers, but would just point out one thing. Stride piano great James P. Johnson gets a lot of exposure here, playing in the Bechet / Ladnier group, guesting with Count Basie, and playing three solos. The performances of "Carolina Shout" and "Mule Walk" are well known and much re-issued, but the performance of "Blueberry Rhyme" has never appeared before on LP or CD. It is one of Johnson's most beautiful pieces, a gentle melodic delight which is given a wonderful reading here, on a par with the 1939 studio performance and better than the 1943 version.

   Recommended to all jazz lovers, and to Johnson fanatics in particular!




3. This 3 CD set includes the two "from spirituals to swing" concerts of Dec.23,1938 and Dec.24,1939 in Carnegie Hall, produced by JOhn Hammond.Just a glance at the artists : Count Basie's orchestra,with Hershell Evans,Lester Young,Buck Clayton,Shad Collins,Harry Edison,Jo Jones,Walter Page,and Hot Lips Page;Helen Humes with the Kansas City Five (Basie,Lester,Jones,Clayton,Page);Albert Ammons,Pete Johnson and Meade Lux Lewis;Big Joe Turner;Sister Rosetta Tharpe;the New Orleans Feetwarmers (Sidney Bechet,Tommy Ladnier,James P.Johnson,Jo Jones,Walter Page);Big Bill Broonzy;Sonny Terry;James P.Johnson;Jimmy Rushing;the Golden Gate Quartet;the Benny Goodman Sextet,with Charlie Christian,Lionel Hampton,Nick Fatool,and Fletcher Henderson !!! Buddy Tate,Ida Cox,and Mitchell's Christian Singers.Even Robert Johnson should have been there,but he died unfortunately shortly before the first concert.There are definitive masterpieces by Basie and his men,by Lester's Kansas City Five,by James P.,Big Bill and Benny Goodman in this set.It includes also a three tracks studio session from June 3,1938 by the Kansas City Five ("mortgage stomp","allez-oop" and "lady be good").2 hours and 51 minutes of very great music,with 23 previously unreleased tracks.Plus and interesting 45 pages booklet, and a fac simile of the Dec.23,1938 program.Let's remember that this 1938 concert was the first one presenting on the prestigious New York scene some of the greatest black musicians of the century.A great date in the history of jazz,and a great moment of music.



4. I owned this in record form in the late 50's when it first appeared, and have been waiting for its CD version for a long time....especially since my vinyls have long since given up the ghost. What a range: from a capella gospel to Basie to Hot Lips Page, this is one tremendous and historic set of music played right before the war: hot, jumpin' jive with some of the biggest names (and some long forgotten, for shame!). It is, as I have proven, MEMORABLE music. If you like the sound of American jazz, from New York to Kansas to New Orleans, get this set! It includes many more cuts than were on the original 2-record LPs. Can't wait to put it on and feel happier each morning!

5 comments about Sun Bear Concerts.

1. One of the masterworks of Keith Jarrett off his post "Koln" period. He is still emotional and searching for the genial phraze. He still had the blues on those moments, without being to technical. Perfect that the original sound off the piano ( and not putting that extra high on it by remastering )is keeped I have the vinyl version to wich is a collector at this time and it sound even greater, but I don't have to stand up to turn the disk anymore.



2. As a benchmark I rate:
   Koln A (orverall)
   Concerts ('Bregenz') A
   Solo Concerts: 'Bremen' D, 'Lausanne' A-
   -------------
   Sun Bear Concerts:
   Kyoto Part I) A-, Part II) B-
   Osaka Part I) B+, Part II) B-
   Nagoya Part I) B-, Part II) B-
   Tpkyo Part I) C+, Part II) A-
   Sapporo Part I) A, Part II) C+
   Encores A+
   
   I place the other solo CDs in another category (ie. Vienna, La Scala) as they are more of what I would call 'neo-classical' rather than the 'free jazz' that these solo could be categorized as. All in all Sun Bear is a wonderful collection, but the shear size (and price) and the uneven quality make it difficult to recommend without reservations. There are brilliant moments, but as with anything, too much is too much, and Keith Jarrett sometimes goes on 'singing' the same tune while he is waiting for an inspiration to take him in a different direction. Fine for him but the listener can get a little irritated.
   
   One wishes for a 'Best Of Sun Bear'. That would be something! If you just can't get enough of Keith Jarrett and if like me you wish that more 'Kolns' existed, then this is worth it.



3. As everybody seems to agree, this is a very pricy box set. The music is however stunning and as a whole shows Jarrett to be a master solo pianist. Recommended if you have the money!



4. This is probably the highest fidelity recording I will ever hear and it will probably require the rest of my life to monitor all six CDs to the degree of reason of which they are worthy. I believe these live sessions would appeal to any kind of listener regardless of predisposition. I have to say that his improvisation transcends classical discipline without insensitive separation.



5. I've been searching for some music - any music - by any artist - that could compare to Koln concerts for more than 10 years now. There's nothing that comes close. Finally, I decided to take a look at Sun Bear concerts. The thought of spending $107 for a set of CDs seemed extreme. But, after reading the glowing reviews, and realizing there's nothing else out there to compare with Koln, I finally made the purchase. This is a great series of CDs. It, still, does not resonate as Koln does. Koln touches a place in my soul that no other music has ever done. But, there's no doubt this is the closest to Koln I've found. Especially the beginning part of the Kyoto concert. So, to those who love Koln and are looking for more, I don't hestitate to recommend this set. It's not as good, hard to say it's even "similar" but it's still very enjoyable and contains many magical parts.

5 comments about A Jazz Romance - A Night In With Verve.

1. Ballads, I believe, are the real test of musicianship. And this collection has a judicious and delicious selection which is perhaps the best balanced one I know featuring the all time great moments - Clifford Brown's treatment of Rodgers and Harts Where or When will bring tears to your eyes - as well as quirky less known works - If the Moon Turns Green sung by Billy Holiday - the "old", Ben Webster, along with the "new" Mark Whitfield. Please don't think this is or should be "background" music. You only have to listen to Bill Evans playing with Paul Motian and Gary Peacock on CD1 to realise this is a collection of some of the greatest moments in 20th Century music, regardless of genre.



2. This selection contains a bunch of great cuts and a few that I could live without, especially the Blossom Dearie tracks. However, as opposed to most collections with weak tracks, this one flows along so well that it is a pleasure to put all four CDS on and let it play in the background on a quiet evening "In." I prefer the companion 4 CD set called "A Night Out with Verve." I would recommend "Out" over "In."



3. I am a complete novice when it comes to Jazz. Don't know much about it except that I enjoy it. I have to say this set of CD's is a great mood-setter. Definitely softens the atmosphere and relaxes the body and soul. Great music for a night of serenity and romance



4. I put this cd set on my Amazon wishlist, and was very pleased to get it as a gift from my lover. All the old familiar songs, together with songs that I think I remember from my childhood, transport me to space where romance and sentmentality feel like comfortable old wool sweater. Think I'll just sit back... sip some good hot coffee..and hope the boyfriend joins me on the couch



5. Beautiful. Billie Holiday blends seamlessly into Dinah Washington into Johnny Hodges into... this four box is the perfect background atmosphere for your swank cocktail party or that evening of candlelight romance. The compilers have collected a remarkable selection of music from classic Verve jazz heavyweights like Elle and Louie, Sarah Vaughan, Clifford Brown, Coleman Hawkins to, surprisingly, a few lesser known French artists such as Michael Legrand (who wrote the score for the French film 'Les Parapluies De Cherbourg') and Laura Fygi. This is a highly recommended classic jazz collection that will beautifully compliment your romantic evening in and will fit nicely into any classic jazz lovers music collection.

5 comments about The Heavyweight Champion: The Complete Atlantic Recordings of John Coltrane (Incl: 7 CD's; 72 Pg. Hd.C. Book).

1. This edition is really great but unfortunately have deffects of issued. the CD1 have jumps and silents on differents songs. I have received both from Amazon, a second one in replacement of first I have requested and both are in same condition. Really sad because it is a great Coltrane edition.
   
   Gabriel Borrajo



2. While most of this is essential, some is not, such as Avant-Garde, on which Trane sounds quite awkward (and the music's not really "out" anyways), and Ole is, well, just boring and confused. Giant Steps, however, and Coltrane's Sound, and Favorite Things are as good as jazz gets. But for this, buy the CDs individually; that way you get the proper order as intended.



3. As many jazz fans reading this review already know, there are eight albums John Coltrane recorded for Atlantic, 1959-1961:
   
   BAGS AND TRANE ( w/ Milt Jackson )
   GIANT STEPS
   COLTRANE JAZZ
   THE AVANT-GARDE ( w/ Don Cherry )
   MY FAVORITE THINGS
   COLTRANE PLAYS THE BLUES
   COLTRANE'S SOUND
   OLE
   
   Given the sheer excellence of these recordings ( "Giant Steps" and "My Favorite Things" are landmarks ), this reviewer is more than a little sheepish at having to slap a 3 star rating on the "Heavyweight Champion" box set. Why? Well, it's certainly not due to the music, for I haven't any doubt whatsoever as to either its inherent quality or artistic significance. And obviously, the low rating can't be chalked up to packaging details, which are uniformly tasteful: the hard-cover booklet, more a "mini-book", is exemplary and there is a truly spectacular "extra" ( ingeniously encased in a replica of a reel-to-reel tape box ) in the form of a disc devoted to virtually *all* of the takes ( partial & complete ) of Trane's groundbreaking tune, "Giant Steps".
   
   No, the crux of my complaint resides in what I strongly feel is an aesthetic violation: the fact that this box set, like so many others, arranges all of the music ( including alternate takes ) in strict chronological order. While this approach certainly has merits for extended live recordings or certain unique studio projects ( eg, Art Tatum's mammoth sessions for Norman Granz ), I find it has little *artistic* ( as opposed to musicological ) justification when applied to a body of work that stands so close to perfection through the arrangement its creator fashioned. Undoubtedly, there are those who truly enjoy fastidious methods of tracing artistic development, but I question whether any other than the most rigorous would be worse off just exploring the albums in their original form with alternate takes placed as appendices at the "bottom" of each particular work. And in fact, all of the work contained in this box set *is* currently available in just such a format. I highly recommend the prospective buyer think this over prior to making an investment; for those other than collectors who just *have* to have the set for the complete takes/outakes of "Giant Steps" ( I admit I wouldn't part with it ), the individual album route makes much more sense.



4. This is a truly great box set.
   
   First, the music. While I think the peaks of Coltrane's Impulse! years exceed the peaks of his Atlantic years, these Atlantic recordings are astonishingly and consistently strong from start to finish, and document one of the most interesting (and rapid) progressions in Jazz history.
   
   Second, these are nicely mastered - great sound!
   
   Third, the liner notes are actually well-written and interesting, with a nice mix of personal and musical history from different writers and musicians.
   
   The 7th disc is arguably only for the hardcore music-geek fan, but it's worth at least a listen or two to just about anyone.
   
   A box set of great music packaged just right. Love it!



5. A fascinating insight into the artistic development of one of the great innovators in jazz through his earlier recordings. Highly recommended.

5 comments about The Hollywood All-Star Sessions.

1. I have a number of Art Pepper's CDs. I have always regarded him as good, but not great. That is until I purchased this five CD boxed set-The Hollywood All-Star Sessions. This is Art Pepper at his swinging greatest! Since he had some contract dispute with Galaxy Records, he is listed as a sideman. That may account for his stretching out and he does it on these five CDs. Also, if you have a very good audio system (not a boom box from a discount store) the recording quality on many of the performances is excellent (soundstaging, dimensionality, etc). With a quality sound system, it's like having Art and his groups wailing in your living room. As an addition, his wife Laurie has written an approximately 30 page booklet that provides insights into Art and the recording sessions. If you like Art Pepper, this is a must have boxed set.



2. Trust me, the price is worth it for some of the best jazz "showdowns" you will ever hear. The sessions with Stitt (tenor) are worth the price alone. I can't really say anything more than the other reviewers here have not already said, but I just wanted to throw in my two cents.
   
   My tastes are very eclectic, But I can honestly say that these are some of the most fresh jazz improv sessions i have ever heard recorded, even if they are decades old.



3. I've only owned this box set for two weeks, but it has already joined the list of my favorite jazz recordings. Historia de un Amor (Disc 2) is one of the most beautiful performances I have ever heard.



4. I write as someone with no background in jazz and only recently determined to give it a chance. Early exposure to fusion and speed-artists turned me off and now at midlife I am determined to mine out some of the nuggets. A few albums appealed at once; Kind of Blue, Jazz Samba, a few others; but nothing has reached out and grabbed me like this album. Simply superb performances and recordings. I can't wait till my own copy arrives.



5. As much as I had responded to the emotionalism in Art Pepper's playing, I had never taken very seriously his quote about intending to be no less than "the greatest alto player of all time." Not until now.

   These five extraordinary CD's capture the altoist in peak form in five different contexts, each swinging from start to finish and each featuring non-stop light and heat from one of jazz' most creative overachievers. During the middle of "Wee," taken at a torrid tempo on Disc 3, Pepper does something unexpected: he reverts to the conventional, proving he had chops sufficient to outpace the very best Bird disciple of them all. Sonny Stitt is his sparring mate. Pepper has just finished one of his jagged, angular solos, emitting brief bursts of brilliance, taking stabs at the overtone series, leaving shards of crystalized emotions in his choppy wake. Expressive and communicative, but certainly no proof of his command of either the horn or the complex syntax of bebop. Then Stitt follows with smooth, logical and assured Bird-like lines, spitting them out with consummate albeit formulaic ease. Apparently that was enough for Pepper, who takes after Stitt, exhibiting the killer instinct of a competitor who's about to humiliate the rival on the latter's own turf. Pepper's note choices, velocity, articulations, energy, and even fluency are sufficient not only to smoke Sonny but to expose his own former elliptical approach to improvisation as the "ruse" of a creator who under most circumstances will go the extra mile to avoid anything resembling a cliche, a familiar lick, a glib formula.

   The man was not only the most moving alto saxophonist of them all but indeed may very well have been the best.

5 comments about The Stan Kenton Story.

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



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



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



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

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




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

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

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

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