4 comments about The Complete Quartets & Quintets.

1. This box set should be in any collection of a jazz lover who enjoys mainstream, straight ahead, swinging jazz of the highest quality. If you are a fan of the exciting JATP sessions; these studio recordings match their intensity and atmosphere. I defy anyone not to smile and tap their feet!



2. Since I bought this set, I have listened to it over and over and over again. Hampton's solos are so creative and tasteful, I never tire of them. Unless you have to have something in Stereo, you cannot go wrong with this.



3. 
   
   Hamp and O.P. swing like crazy on these most excellent tracks. Bonus is Buddy DeFranco on clarinet: damn! he's good!!
   
   All these guys work together so well; the standards are great; the recorded sound is great: this is jazz! Totally worth the price.



4. Thank God for Norman Granz - the undervalued genius who produced these sessions and founded Verve! I say that just about any time I pop in one of my 1950's small group swing CD's from the Verve vaults. And this collection is no exception. In fact it might represent a pinnacle of sorts where Granz was able to bring together some of the finest swing musicians of the period and let them just wail. Recorded in 1953 and 1954, this 5-CD set is ripe with standards and some blues, most of which are up tempo and driven hard behind the rhythm section of Ray Brown on bass, Herb Ellis on guitar and Buddy Rich on drums. The interplay between Peterson on piano and Hampton on vibes makes these recordings come to life and a bit of Buddy De Franco on clarinet is icing on the cake. There's a single CD compilation if you're not certain that a vibes and piano lead session is for you but this is one box set worth owning and listening to again and again.

5 comments about A Night Out With Verve.

1. I had great expectations for this product based on the other reviews. I have so far listened to the Dining and Dancing CDs. I am not a music expert, but even to me most of the songs seemed to be mediocre selections of the artists.
   
   The dance music may be good for tap dancers. There was hardly any good swing selections. The Louis Armstrong selection is hardly dance music. There is nothing that says that a particular music relates to the activity.
   
   But it is still a good selection from a wide variety of artistes.



2. I would highly recommend this set to anyone who is starting a new Jazz Collection. It has a selection of all the greats & even some contemporaries. This set gives you the chance to listen & discover all of these artists & then it is up to you to investigate those artists that appeal to you. You won't find too many sets i'd imagine that have all these jazz legends in a set like this especially at this budget price.



3. Glorious, fabulous, fantastic! There are names here that no sane person could ever tire of. A delightful collection from an incomparable era. Enjoy.



4. I'm a die-hard Ella Fitzgerald fan, and when I heard her along with Louis Armstrong and such other greats as Sarah Vaughan, Duke Ellington, George Shearing, Chet Baker, Dizzy, and others, I absolutely had to buy it. Have given it as gifts on many occasions, and everyone loves it....even the youngsters ( between 25 and 40)!. Great buy, and great gift for any occasion.
   
   E. Perry



5. Absolutely love the collection from Verve's archives. Features some of the best and the most beloved performers of great Jazz era. Wining, Dining, Dancing and my favorite Romancing. Seems like there is a limitless list of absolute fantastic ballads and wonderful dance numbers. Beautiful music, will recommend to everyone I see.

5 comments about Miss Peggy Lee.

1. Unlike many of my reviews, I will keep this one quite short.
   
   Peggy Lee....Has there EVER been ANOTHER singer LIKE her??? (NO)
   
   This collection starts at the beginning of her looong (lucky for us) career (at Capital), and travels right up to the end of her days with them the second time. This collection, rightly, belongs in any lover of great music's collection. You will also, in fact, need the "Singles Collection", and "The Best of the DECCA Years", too, if you want a complete representation of the GREAT LADY's career.
   
   Do not be "put off" by some few reviews here, stating that she's "boring", etc. Don't kid yourself...do you really think Peggy Lee was ever capable of being "boring"?!
   
   Trust me, and dozens of others who have reviewed this album positively, "you need this"....Enjoy! ~operabruin



2. The extesive career of Miss Lee on Capitol Records is very well sampled here. You'll find a lot of different arrangers and small combos spaning from the mid 40's to the late 60's. Of course that there is a lot of great tracks that were left out, but you can find the complete records through the English Emi double features releases if you're into a particullar record. Personally I thing that there is too many tracks from the Forties, pratically half of CD1 and the whole CD2, which due to the original recording technologies are not as pleasant to listen as the late ones. The sound mastering is unpecable, by the way much better than those in the english releases that I mentioned . The only thing to regret is the absence of some of her Decca recordings (1951/1956) which would be wellcome... despite that I think is a great buy. Try it.



3. I have no quarrel with the talents of Peggy Lee. Certainly she is one of our best jazz/pop singers and has been so for many decades. Her album with George Shearing called "Beauty And The Beat" would be on my Top Ten Desert Island Discs. However, this quite expensively priced, 4 CD set has a "sameness" to too many of the arrangements and presentations.

   Although we've all heard the Peggy Lee of the sexy, almost whispered, come-hither phrasing, (think: "Is That All There Is?") she has proved herself capable of so much more. And with a few exceptions, this set delivers too many of those undersung, quiet-to-a-fault performances. When you hear the all-too-few selections from the above-mentioned "Beauty And The Beat" you'll hear a refreshing change of pace.

   Lee can belt, she can do Broadway, certainly she swings, and her taste in songs is perfect. Then why do song after song (and there are over 100 in this collection) sound much too similar here? I'm not enough of a musician to answer my own question, but I know it's true. And it's a disappointment.

   Want a good sampling of Peggy Lee's artistry? Choose your own selection of 4 of her CD's, making sure that on one she sings with a small combo, another with a full orchestra and be certain that the arrangements were done by different people.




4. In the late 60s, when I was about 4 years old, I saw Disney's "Lady and the Tramp," which features Peggy Lee singing "He's a Tramp." I just loved that song, and the song about the cats too, but until I bought this set I didn't know anything else about Peggy Lee. Well, I can say that this set is well worth the price. The sound quality, for one, is outstanding for recordings of this era-you feel like you're front row for a performance. The songs themselves are mostly great too-some of them are so jaunty you want to get up and dance and sing along as you clean the house.

   An example is "Why don't you do right"--"You had a plenty money 1922! You let other women make a fool of you! Why don't you do right, like some other men do. Get outta here, and get me some money too!" Some of the material from the late 50s and 60s is a little too orchestrated for my taste, and takes some getting used to. The liner notes by Gene Lees are oustanding, and have some great phoots to give you a sense of what this neat lady is like. The only reason I don't give this 5 stars is that the songs aren't in chronological order-you can suddenly skip from a jazzy mono song from 40s to a stereo song from the late 50s, and then back again on the next disc to the 40s, which can be a bit jarring. Overall highly recommended, however, for the first time listener or the dedicated fan--several of the 100+ songs are rare or even previously unreleased. You'll have to get the best of the Decca years to get "He's a Tramp" though, it's not on this set!




5. Listening to this stunning collection of songs from the 40s through the 60s from the bluesy, indomitable Miss Lee is not as much a blast from the past as a smoldering, come-hither nudge as only Peggy can deliver. These recordings sound better than ever and four CDs are just the right amount to adequately represent the various styles of music and collaborators this genuine American original has complemented. Her fading health in recent years seems to have dimmed Miss Lee's contribution to the world of music, elevating Ella Fitzgerald, Rosemary Clooney, and Billie Holiday to higher rungs at the same time. My advice is to listen to this collection of classics and be reminded, ever so subtly, of the brilliance of this musical genius and startlingly original visionary artist.

5 comments about The Lester Young Story.

1. Lester Young has quickly become one of my all-time favorite tenor players. The price for this 4 CD box set alone makes it a must buy. However, the material here is first rate.
   
   Lester Young's solo on Ad-Lib Blues with the Benny Goodman octet is worth the price of admission alone. Lester's solo breaks are amazing! The harmonic sophistication and "badness" Lester communicates on this track makes him sound 20 years ahead of his time. Ascending and descending minor thirds in half steps, swinging relentlessly, call to mind Jackie McLean or Wayne Shorter as opposed to Benny Goodman. If one doubted Lester Young was a genius before, this set should put to rest any doubts.
   
   It is not overstating the case to say that without Lester Young modern jazz would sound entirely different. Charlie Parker was heavily influenced by Young. Thus, without Lester Young, the primary genius behind the evolution of Bebop would have sounded entirely different, or worse still, would have gone uninspired. Ornithology, a famous Parker tune, is quite evidently inspired by one of Young's solos.
   
   This set is a great example of Lester Young and a wonderful introduction to his playing for the price. If the price is not prohibitive for you, I also recommend The Complete Lester Young Studio Sessions on Verve. I sadly do not own this box set, but I have many of the albums that comprise it. I know some think that the later Lester Young is not as worth listening to as the earlier. I disagree.
   
   A relationship with the music of Lester Young will enrich your life. You should buy this set.



2. A quite complete collection from which you can have a glimpse of the golden years of jazz and listen to the most representative works from a sax master



3. This is an excellent collection, impossible not to like if this genre of jazz is what you are into. Lester Young is a very good sax player, he ranks right up there with the all-time greats. Enjoy!!!



4. If you are making your first purchase of a Lester Young CD you really can't go past this one, especially if you want an overview of his playing in his prime years. This probably has his best recordings from the beginning in '36 to '49 with maybe a few ommissions here and there, but I'd be surprised if there is a better 'Prez' compilation out there for the first time listener. Good value for money too with 4 CD's.



5. This four CD set is a comprehensive survey of Lester Young's career. The collection addresses the major phases of the tenor saxophonist's professional life and includes key performances. The first CD, "Lester Leaps In" (1936-1939) showcases Young in classic performances featuring vocalist Billie Holiday and pianists Teddy Wilson and Count Basie withWalter Page on bass, Freddie Green on guitar, and Jo Jones on drums. "Afternoon of a Basie-ite," (1939-1944) the second CD in the set, presents Young in Basie's Kansas City Seven as well as in Dickie Wells' band and as part of Billie Holiday's orchestra. Again, the performances are jazz classics. And they offer not only the Lester Young performances along with classic recordings of the Count Basie orchestra in its prime and Billie Holiday in hers. Disc 3, "Lester Leaps Again" (1943-1946) records Young with the Basie orchestra (again with the core rhythm section of Greene, Page, and Jones) as well as with his own group. It includes recordings with pianists Johnny Guarnieri and Nat Cole and drummers Sidney Catlett and Buddy Rich. The Young-Cole-Rich trio recordings are worth the price of the set. Disc 4, "Ding Dong" (1946-1949) doesn't reach the end of Young's career, but it does include performances that demonstrate that despite some reports he never lost the power and lyricism of the early years. The Jazz at the Philharmonic (JATP) recording (1949) with Roy Eldridge, Charlie Parker, and Flip Phillips show that even in his supposed decline he was always a force to be reckoned with. (His contemporaries said that despite his seeming lightness if he were given enough choruses Young would bury any competition.) This CD set is a tremendous bargain, particularly because it encapsulates so much great jazz. In this set Lester Young, Billie Holiday, Teddy Wilson and Count Basie and other greats of the swing era are available in cleanly remastered recordings of classic performance. The accompanying booklet contains carefully prepared discography and commentary.

3 comments about Jazz Moods: An Intimate Evening.

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



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



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

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

1. I am not sure I understand the purpose of this product. If it intended to be an exhaustive compliation of Coltrane's recordings with Impulse, words could not express my enthusiasm. But, these discs are limited to the Impulse recordings that exclusively consisted of the classic quartet of McCoy Tyner(piano), Elvin Jones(sticks), J. Garrison(bass) and Trane. As a consequence fantastic recordings are left out from Trane's Impulse years; for example, Live at the Village Vanguard, which did indeed consist primarily of the quartet, but with an additional musician. It's like telling only selective parts of a compelling story. If you are a Trane convert, I suspect you already have these albums. If you are trying to build a collection, I would not start here. Instead, take a closer look at the reviews of his albums from his Impulse years and pick and choose. That, or what until his entire Impulse contribution comes out as a box set.



2. 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.



3. 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.)



4. 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.



5. 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 comments about Live at the Lighthouse.

1. The music on this album, even in its LP version, was the sort that made West Coast listeners wonder why "East Coast guys" seemed to play so much HARDER than other folks recorded at the same venue.
   
   Lee was at the top of his post-Messengers form, and Maupin's work is among his best, even looking back from today, thirty-five years later. The rhythm section cooks, and Blue Note did NOT edit the songs down into "pop" length, even on the double LP.
   
   There's a marvelous slow piece, "Neophilia" ("love of the new") featuring Lee's rarely heard and gorgeous fleugelhorn and Maupin's bass clarinet, rarely heard outside of his Davis/Hancock dates. (Why isn't this tune a standard by now?!?) and Lee's uptempo "soul-jazz" standards (added to the box set) including one on which an eager Jack DeJohnette guests on drums, champing at the bit. HARD post-bop lived!
   
   Sad to think, these many years later, what else Morgan, and this band might have gone on to do....
   
   rfgs



2. Lee Morgan was listening to the Miles Quintet and was ready to leave his 'Sidewinder' days behind. That says a lot about the man who was expected to write bogaloo songs for the rest of his career. This is a different kind of Lee Morgan record, and a little diffcult at first if you are expecting a classic hard bop live album. Thanks to Blue Note for releasing a 3 CD, documenting the best of 3 nights at the Lighthouse. The sound is not the best it could be, you need to crank it up, but that is the only minor flaw for a stellar release.



3. This is by far one of the better jazz albums ever assembled. If you're a fan of Lee's "Rumproller" and "Cornbread" albums, you will love this one. The groove of these live performance couldn't be generated in a studio. This isn't just Lee Morgan's music, this is his soul poured on this album.



4. "Live at the Lighthouse" is a wonderful live album from the decidedly deceased Lee Morgan.It falls short of greatness for the simple reason that the "head-solo-solo-head" format was getting a bit old on folks at that time (and now as well!)But that criticism aside there is some terrific jazz being played on these three CD's.I won't list the tracks but the closing version of "Sidewinder" is worth the entry fee alone. The only real bummer is the self-serving liner note written by Benny Maupin. Great player that Benny is, he should let his sax do the talking. I mean Lee was his greatest friend ever on Earth but he missed his funeral because of "..performance commitments.."?? Come on Benny, you'll need something better than that!



5. Lee Morgan's "Live At The Lighthouse" is great look at the master trumpeter in the year before his tragic murder at the hands of his common-law wife. Originally released as a posthumous double LP, this is the kind of release we were all promised with the advent of the compact disc! Three discs packed full with more than an hour of music each, half of the songs previously unreleased, and improved, remastered sound. Joining Lee on this voluminous set are Bennie Maupin (on tenor sax, bass clarinet and flute), Harold Mabern (on piano), Jymie Merritt (on bass) and Mickey Roker (on drums, with Jack DeJohnette replacing him on a few tracks). The material covered on these discs is typical, classic late Lee. Always the tireless innovator, he only returned to two of his mid 60s Blue Note hits, "The Sidewinder" and "Speedball." The rest of the tunes are new, and exemplify the modern innovations and directions Lee was taking his music in the new decade of the 70s. Along with "The Last Session" and Larry Young's "Mother Ship" (currently unavailable on CD), "Live At The Lighthouse" paints the final portrait of a jazz great taken from this world all to soon.

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?

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 Q: The Musical Biography of Quincy Jones.

1. Beautiful music. This is lovely bio-discography. Jazz, movie, pop, funk .... for all kind of music, he is #1 . Fans of Q, u have to buy it !



2. I had no idea who Quincy Jones really was until I watched a PBS special the other night called American Masters. I am a big fan of his album "Big Band Bossa Nova" and I was amazed to see that he did a great deal of big-band styled music. This box set encompasses so many different aspects of his career. Big band music, movie & television scores, to producing some of pop music's greatest stars. I am extremely pleased with this purchase. There are so many great songs on these 4 discs they will be in heavy rotation on my MP3 player for quite some time.



3. This collection runs the gamut of pop and jazz musical styles. When songs differed between the single and album version, the single version is used. For a Rhino box set, this title has excellent remastering. Instead of the usually over-bright presentation, Bernie Grundman is the remastering engineer here -- and he treats these tracks with a slight hand, allowing the original musicality of the master tapes shine through. You probably don't have these tracks sounding this good elsewhere in your collection (unless you own the Grundman remastered Michael Jackson albums).



4. The wide array of music in this collection is amazing - I've always enjoyed his later albums (The Dude, Back on The Block) but this collection opened up the depth of his earlier work to me. I had originally ordered this from Amazon, but cancelled it after I found it at a discount club (Costco)...



5. Jones's musical biography is a history of American music. The variety and depth of the music compiled on these CDs is amazing.