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The Country Music Foundation offers 104 songs--more than four hours of music--even though Patsy Cline died at 30 after less than a decade of recording. Given the wavering quality of her later string-laden work, four CDs might be excessive, but this set comprehensively follows Cline from upstart country boomer to pop diva. She could take charge of a song from day one, as the two 1954 radio transcriptions prove. On her vibrant late-1950s work, she moves from honky-tonk and rockabilly to soft ballads in commanding fashion. "Walkin After Midnight," her first hit, features Don Helms's gentle steel guitar while her vocals blend raw power with emotional vulnerability. By 1957, vocal groups had entered into the mix, and in 1961, hits such as "I Fall to Pieces," "She's Got You," and Willie Nelson's "Crazy" brought her pop stardom.--Marc Greilsamer ... Read more

Reviews (19)

Not just a country singer, and what a voice!!!
I hadn't heard much of Patsy Cline's music before I bought this box set but what a revelation! Not only did she have a beautiful voice (I DID know that) but what really surprised me is the different styles of music she performed. Actually, to label her just a "country singer" is simply not accurate. Most of the songs did fit the style of "countrypolitan", a mixture of country and pop, but a few of the songs border on rock and roll. She could sing a ballad with achingly heartfelt emotion or belt out a rockabilly number with more-than-competant aggressiveness. To the nonchalant, a few songs could be considered soundalikes, but with Patsy singing them you won't care that much; like the hip cliche these days, she could sing the phone book and make it sound good!

Another reviewer mentioned that there was some "filler" on this box set. That depends on your point of view. The songs themselves are not filler material; for the most part they are first-rate. However, from the label's perspective, there may have been slightly different versions of previous songs that were added simply to pad the total amount of songs in the box set. But, I don't believe this is necessarily a bad thing, because, if it's a great song it's interesting to hear a different version of it. Again, Patsy's voice makes it all worthwhile.

I would give this collection 10 stars if it was possible! Five stars does not give it justice. Patsy Cline's voice was a gift that is appreciated even more today, as style, looks and dance beats are stressed more than talent and ability. Patsy was taken from us WAY too soon, as this collection will attest to. If you are not already a Patsy Cline fan, buy this box set and soon you will be!

This Rocks!
You don't have to be a country fan or over 50 to love Patsy Cline. I'm 25 and I loathe the stuff, but Patsy has the voice of an angel and emotes perfectly in every song. This box set is essential and has something for just about every mood. Check out her cover of "Stupid Cupid." It's adorable! Trust me, take a few listens, and before you know it, you'll be humming her songs all day and thinking about what a tragedy it is that she died too soon before her time.

Never Enough Patsy
If you're a fan of Patsy Cline, you know that everything she recorded, from the most moving ballad to the rockingest honky-tonk, simply compels you to listen. Her powerful voice and her immaculate control command your attention from the git-go and never let up. If you're not yet a fan, I promise you will be.

This set is perfect in every way, including all the important recording she made and a number of enjoyable sidelights -- radio transcripts, live recordings -- from the very beginning to the tragic end. The book gives an in-depth look at her life and times. Why begin with a ten-song CD when you WILL want more?

I really give it more stars than that but thats all it goes
OH MY this is such a great box sete. I first though Oh my the price, but for Patsy Cline it was W_E_L_L worth it!! The live songs on the cd, makes you feel like you in a concert hall listening to the late great Patsy Cline. I reccomend this set to ANYONE!!! It is awesome! It sounds so great hearing her voice it sends chills up my spine!
BUY IT!!! YOU KNOW YOU WANNA!!!

An Essential For Hardcore Fans
Patsy Cline's presence looms so large in 20th Century American popular music that it is tempting to believe she was a great star during her lifetime. That, however, is not really true. Cline spent most of the 1950s playing honky tonks, doing the occasional radio or television appearance, and making records that usually didn't sell. It was not until 1960 that Cline began to reach a national audience--but even then Cline's hits were not as many or as big as you might think. Then as now, music fans tended toward very specific niches, and Cline didn't fit easily within any of them, a fact that often made her a very hard sell. Even the famous "Sweet Dreams" couldn't ride the notoriety of her untimely death in a 1963 airplane crash to the top spot on the country charts, much less the pop charts.

But for all of this, Cline had a devoted fan base--and more importantly a tremendous influence on the country and pop singers that came after her. Over time, that influence would grow to a legendary status, and by the close of the 20th century she would be considered one of the greatest vocalists of her era. She would also be one of the best-selling as well.

THE PATSY CLINE COLLECTION offers all of Cline's most famous recordings and then some. This box set, which comes with a very handsome booklet detailing Cline's life and career, consists of four CDs: "Honky Tonk Merry Go Around," which includes early examples of Cline's original juke-joint style; "Moving Along," which shows her transitioning into her classic style; and "Heartaches" and "Sweet Dreams," which presents her in full "cross-over" mode, blending numerous popular musical idioms into a seamless whole.

The quality of the recordings vary. Many are 1950s radio transcripts, with all the audio limitations such implies; the later recordings, of course, are state of the art c. 1960. But whether its the earliest cut (a radio transcript of "Walking the Dog") or the last (a live recording of "Just A Closer Walk with Thee"), every recording is distinctly Patsy Cline. There is absolutely no mistaking that incredible voice, and it transcends whatever limitations may be involved.

The collection offers well over four hours of Pasty Cline recordings, and quite frankly if your interest in Cline is limited to the high style of her late 1950s and early 1960s work you would really do better to purchase a less expensive compilation. There are many such releases that include only the essentials. But if you're a die-hard fan--and I'm certainly one of them!--this is a must-have set. It is a pricey purchase, to be sure, but once the investment is made you will never need purchase another. And I can honestly say that I don't regret a penny spent.

--GFT (Amazon Reviewer)-- ... Read more

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Nat "King" Cole endured more than his share of scorn and rebuke from all manner of fans and critics. He wasn't jazzy enough to satisfy many, not white enough to please the pop cultural obsession with Anglo- and Euro-American stardom. In answer to all of this, Cole simply proceeded, crooning beautifully even after he'd walked away from the piano and become primarily a vocal sensation. This 1956 collection is famous as Cole's riposte to the critique that he wasn't jazzy. The session brings several Swing Era stars on board: violinist Stuff Smith, trumpeter Harry "Sweets" Edison, trombonist Juan Tizol, and alto saxophonist Willie Smith. The horns and violin fronted a semistandard jazz setup of guitar, drums, and percussion, along with Cole's own considerable chops on piano. As an improviser, Cole heavily influenced a generation of ivory ticklers, including Oscar Peterson and others, and here he shows himself a stellar pianist. His runs bespeak Cole's utter perfection on the keyboard. This is a crucial document. --Andrew Bartlett ... Read more

Reviews (13)

Best of Piano & Vocals
One of the unfortunate consequences of Nat "King" Cole's exquisite career as a vocalist is that many fans have forgotten what an exceptional pianist he was. Moreover, Cole influenced pianists as chronologically and geographically divergent as Oscar Peterson, Brazil's Tania Maria, and Diana Krall. AFTER MIDNIGHT serves up equal doses of Cole's vocals and piano playing. From the lush beauty of "What Is There To Say" to the mid-tempo swing of "When I Grown Too Old To Dream" to the lightening quick "I Know That You Know", Cole confirms his place in both Popular Vocalist history and Jazz Piano history as well. In a recording featuring such luminaries as Harry "Sweets" Edison on trumpet, and the often forgotten violinist Stuff Smith, AFTER MIDNIGHT is the perfect offering for any fan of the Nat "King" Cole Trio as well as those fans who are more familiar with Cole as a vocalist. A perfect blend is found here.

Nat answers his critics
Often criticized for being just a pretty voice, Nat King Cole proves once and for all in this wonderful session that his jazz credentials are beyond question. The voice still sounds wonderful, but even more impressive are Nat's piano stylings and the hip, cool backup he receives. No crooning here, just superb music that swings. The definitive versions in my opinion of many of Nat's classics including the marvelous Only a Paper Moon and Sweet Lorraine. Very good sound too, although one wonders if yet another remastering along the lines of the Louis Armstrong sessions of WC Handy and Fats Waller could improve it even more.

An Understated Group Tour De Force
Supposedly Nat's return to his jazz roots (after his subjecting us to "Ramblin' Rose" and "The Lazy Hazy Days of Summer"), "After Midnight" always left me unimpressed. Nat sings on all the numbers, each of which is too carefully programmed to permit meaningful, extended jazz improvisation. But upon mature retrospection and revaluation, I've had to reconsider and add this to my collection.

If you're going to feature a singer-pianist in the setting of a small combo, this is the way to do it. The vocals are not an excuse for the musicians to jam. Instead, each of the solos, including Nat's piano offerings, augments and complements the distinctive vocal interpretations. Even when in the background, the instrumental voices of Sweets Edison, Stuff Smith, Willie Smith, and Juan Tizol are so unmistakably personal that no further showcasing of their contributions is required. The rhythmic support of John Collins (gtr), Charlie Harris (bass), and Lee Young (drums--Lester's brother) is the model of efficiency and empathy. In short, this is an exemplary session--extemporaneous jazz that is as tight as an arranged, orchestrated session yet as free-flowing as a spontaneous one.

Not the least of the album's attributes is the song selection--17 altogether, 5 of which were not included on the original LP. It's a perfect mix of old and new, sentimental and sophisticated. Just listen to Nat's easy assurance on the up-tempo "I Know That You Know" followed by his equally masterful delivery of the relatively esoteric ballad "Blame It On My Youth," capped by a medium-tempo version of the timeless "When I Grow Too Old to Dream." Then ask yourself who else could pull off such a trinity of tunes so triumphantly--and he does it for 14 remaining songs! This album is a tour de force for Nat but, even more importantly, it's collaborative music-making of the highest order.

Mmmmmmmm...
It's easy to forget what a brilliant improvisational pianist Cole was before he went more commercial and recorded with an orchestra. He won Esquire and Metronome awards in the years 1946-1949 for his piano. Just by itself, a return of the trio and its style would be treat enough. But when you add some of the very best sidemen in the business, this is ambrosia. Sweets Edison was Basie's star for 13 years and, after 1950, was in demand for all kinds of big names. Sinatra loved to use him. Same for Juan Tizol, who cut his eye teeth on Ellington and Harry James before his valve trombone was in demand for Sinatra and others in the Capitol stable. Willie Smith - who developed the slurping saxophone sound with Ellington, I think, later ended up doing some great alto work for Billy May alongside Skeets Herfurt. Stuff Smith on violin was new to me - kind of a cross between Stephane Grapelli and Florian Zabach. Cole's voice is as mellow as ever, but it is so smoothly laid in this instrumental bed that it blends like another instrument - except, of course, when it soars. The ballads have some sophistication and the rest just plain swings. I could listen to this CD over and over and over again. Watch your purchase - there is a 12 track Japanese import out there - which is actually the way the LP came out in 1957. The CD listed here has six bonus tracks that were recorded in the same sessions and are every bit as good as the original dozen. ....You'll wear it out appreciating new nuances each time you listen to it. And that will be often! Oh, P.S. Check out Jack Costanzo's wild bongos on "Caravan."

Fantastic Jazz!
An excellent album for those who want to hear Nat King Cole the musician, versus the vocalist. However those who prefer the vocalist will not be disappointed as Mr. Cole sings on all tracks. This album basically reunites the Nat King Cole trio during the height of his vocal career. Also added is a guest instrumentalist on each song. Mr. Cole re-records his greatest trio hits, Route 66, Sweet Lorraine, Paper Moon, etc. However don't overlook the album because of this. There are many wonderful gems on this album including Blame It On My Youth, Just You, Just Me, Caravan, and Sometimes I'm Happy. This is one of Mr. Cole's best albums and I promise the sound will never grow old! ... Read more

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As its title indicates, this 1985 recording marked Barbra Streisand's return to her Broadway roots (significantly, she had dropped her pop-period Guilty perm and returned to straight hair). The CD contains a broad selection of show tunes, from Guys and Dolls's "Adelaide's Lament" to Sweeney Todd's "Not While I'm Around." But let's face it: this may also be one of Babs's most dated albums, due to typically '80s synthesizer-heavy arrangements that simply don't work with the material. Company's "Being Alive" is scarred by a preening alto sax, while West Side Story's "Something's Coming" features what sounds suspiciously like syndrums. But--and it's a pretty big "but"--Streisand sounds more buttery than ever ("Send in the Clowns" may be one of her finest '80s moments), so much so that she often manages to overcome the cheesy production. Now that's a singer. --Elisabeth Vincentelli ... Read more

Reviews (56)

Barbra + Broadway = Masterpiece!
In her "Timeless" concert, Barbra began Act II with "Putting It Together", the opening track here. Taken from "Sunday In the Park With George", it is re-envisioned here as the struggle of the artist to produce good work despite prevailing trends and marketing pressure. Media mogul David Geffen and director/actor Sydney Pollack provide two of the background voices on the song that question and provoke her, challenging her vision and motivation. In the end, Barbra lyrically asserts that she must stay true to her artistic vision and yet play the marketing game as well, if only a bit. This song so completely captures the essence of the album that it's hard to imagine any other song that would have worked as well.

"Till I Loved You" is pure perfection. Barbra's ease at sliding a note from its delicate introduction to a full, rich and sustained conclusion is one of her many musical gifts. Her version of this song is nearly "definitive".

Barbra burst onto the "Timeless" concert stage with the next song: "Something's Coming" (from "West Side Story"). She also peformed it in her 1986 "One Voice" concert as well. The arrangement here is fresh and energetic, with Barbra neither rushing nor toning down the original tempo.

"Not While I'm Around" from "Sweeney Todd" will clue you in to why Barbra can single-handedly revive a Broadway song from near obscurity. She dedicated the live version of this song to her son, Jason, in her 1994 Madison Square Garden concert. Her voice sounds loving and maternal with just the right amount of affection and concern. Magical.

"Being Alive"! WHEW! This one certainly raised the roof New Years Eve! This song finds Barbra building from a jazzy intro to a full throttle belting conclusion! Extremely satisfying!

The "King & I" Medley is so incredibly beautiful that is hard not to be moved by the lyric "In these dreams I've loved you so, that by now I think I know, what it's like to be loved by you...". The third part, "Something Wonderful" was also a "Timeless" performance and is haunting in the imagery it evokes.

"Adelaide's Lament" (CD only) is pure Broadway magic! What a wonderful song, and Barbra the actress is more that up to the challenge...it makes you wonder what Barbra's career may have been like if she had remained just a "Voice" on Broadway!

"Send in the Clowns" (Yes! Also, in "Timeless", Whew! Maybe they should have called it "The Broadway Album - Live!) Only an artist of Streisand's caliber could have prevailed upon Sondheim to rework this classic song. The introduction of new lyrics and a more dramatic ending are more satisfying than other versions that tend to sound caustic.

"Pretty Women/The Ladies Who Lunch" is an incredible combination! I don't know if I'll ever be able to hear either of the songs independent of each other again with the same sense of satisfaction! Barbra begins "Pretty Women" with a delicate observation about women as objects of beauty and brilliantly segues into the "Ladies Who Lunch" with it's insights into the supposed contemporary women who seemingly have it all but who are not necessarily any more fulfilled than the "Pretty Women". Barbra gives wonderful insight into the song on the homevideo companion to this album "The Making of The Broadway Album".

"Can't Help Lovin That Man" allows Barbra to sing a classic Broadway song with a real sense of time and place. She sang this one in the 1994 concert as well. The sense of innocence her voice evokes, blended with such a melodic score will draw you in and linger long afterward.

In the same vein, the "Porgy and Bess" medley also creates a definite time and place in the imagination. Here Barbra performs with a sense of yearning mixed with defiance. This interpretation is equal parts Broadway, Pop and Opera. Again, this one will stay with you...

Lastly, we have "Somewhere"... performed in "One Voice", "Barbra - The Concert" and most brilliantly in "Timeless". What can be said of this song that hasn't been said. The video of this song, directed by William Friedkin (who directed the film "The Boys in the Band", "The Excorcist", "The French Connection" etc.)is in a class all by itself. "Rolling Stone" declared it one of the best videos ever made. Personally, I feel it sums up in one song the essence of Barbra's voice.

Beautiful, powerful, insightful.

If you've ever wondered why Barbra Streisand is as acclaimed an entertainer as she is... find a quite space, turn out the lights, turn on this song and close your eyes and try to let your imagination take you in whatever direction it takes you... then you will know!

(I'm still waiting for a Barbra album with music by Yanni! Anyone agree? LOL! The new-age feel of "Somewhere" makes me wonder what magic could be created in the surrealistic sound of Yanni's music...)

Oh well, what more can I say accept...

Thanks Barbra, for an album that will inspire vocalists and lovers of Broadway songs for generation to come!

Chris

Broadway Album- A Thrilling Experience!
Having listened to a number of tracks on the album in Barbra's live performances, i was expecting the original studio versions to be just as good if not better.

Well what can i say? Most of the songs here are consistently strong and while a couple are not as easily 'mainstream', they still manage to sound at times refreshing and at times humourous, thanks to Babs great vocals and style.

The more listenable ones like 'Not while I'm Around' and 'Send In The Clowns' are moving but my favorite track remains the absolutely uplifting 'Somewhere', the final track.

Both inspiring and dramatic, 'Somewhere' easily makes the album shine and proves to be a once in a lifetime climax to this artistically and commercially successful record.

Barbra Streisand said this is one of her best works to date, so whether you're a jaded critic or a big time fan, this album is as what many people would say- the crown jewel in the collection.

And to think i'm listening to it, 16 years after it's release!

Overproduced effort
When this album came out back in 1985, it was an effort by Barbra to disdain her pop leanings and return to her Broadway roots. Although it was released with much apprehension by her record company (as depicted in the opening dialog in "Putting it Together"), it shot to Number #1 on the Billboard charts and sold millions of copies. But anyone who thinks that this album is a throwback to Barbra's 60's glory days should be forewarned: this album is nothing like Barbra's sixties albums. The problem I have with this album is it sounds way too much dated--from the 80's, that is. Much of the album is marred by slick 80's production: all the uptempo numbers are ruined by syncopated drum beats that were popular in the 80's, and the most contemporary sounding song of this collection, "Somewhere", has all these cheesy synth riffs to it. The difference between Barbra's 60's albums and this one is that Barbra's vocals were unabashed and full of ambition and spontaneity on her albums from the 60's. Here, Barbra's vocals are way too concentrated, too self-conscious, too studied. She approaches these lyrics way too intellectually, even changing them to suit her needs. Not that this album doesn't have any strong points. "Send in the Clowns" is THE best version I've ever heard anyone sing, and the "I Loves you, Porgy" and "Ladies who Lunch" numbers are quite nice. However, I think her "Back to Broadway" album was a lot better than this one, although neither one of them were able to match Barbra's best efforts from the 60's.

How Barbara Helped Me Find My Voice
This album influenced me to open up myself to stretching my expression vocally.
For all aspiring voice/stage students, this album is valuable.
This is an exercise in listening and then personal interpretation.
The question would be, which cut didn't influence me to grow as a singer? Hmmm, that would be difficult to determine.

Her finest work ever!!!
This certainly is her best work for me. I'm just the bigest of her fans, but don't get me wrong, I'm not blinded by her talents.
Even though I'm not specialized in music I know all of her recordings by heart and this is it...perfect. This is music, I don't know what some of the reviewers are talking about when they say that there is no emotion at all in this exquisite work of art. You can feel the perfect conection between the singer and the arrangements, the voice serves the music and the arrengements serve the singer. It's all just so perfect, every second of it. There are pauses in the right places and crecendos where they are suposed to be just in the benefit of the work.
Not to mention the selection of the songs and the VOICE.
Believe me, if there is an album that can be called classic in Babs'career is this one, and at the same time was very popular, "sweet artist justice" as she herself said, and that's not a matter of fate. It is the quality of it that makes it valuable to everyone. Buy it, and if you do not appreciate at first sight, play it again and again and it will conquer your heart, no matter what your musical preferences are...thrust me!!!
(igco.grm@infomed.sld.cu) ... Read more

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People first smitten with Harry Connick Jr. due to his easy, timeless charm and swoon-worthy croon on the 1989 soundtrack When Harry Met Sally are in for a big treat. Come by Me, a delightful sequence of treasures both old and new, is Connick's first big-band record since 1991's Blue Light, Red Light. What's not to like?With equal precision and confidence, Connick and his 16-piece band (and at times a full symphony orchestra) move seamlessly between the boisterous self-penned title cut, the Mancini standard "Charade," and the Cole Porter gem "Love for Sale." He gives a straight and moving voice and piano take on "Danny Boy," a stepped-up freshness to "There's No Business Like Show Business," and "Cry Me a River," following his unique vision, becomes an emotionally broken Bourbon Street funereal march. Strings swell, horns wail and skronk, high hats tap time, and those magic fingers dance across the keys. All told, Come by Me is a welcome invitation. --Paige La Grone ... Read more

Reviews (102)

The Boardroom Was Looking Empty..Thanks Harry
Popular music is littered with fads and reworks and technical wizzardry that hides the true brillance and melody of great music.The great male voice delivering a great lyric with the timeless*umph and zing* of a big band or orchestra has been sadly missing throughout the 90s..until NOW!!! ..prepare to be entertained with *Come By Me*.

What is there not to like on here?This is a reunion recording between Harry and the Band,not since his ,I think the 1981 release ,has he sounded this way.I liked Harry on the *She* CD of some years ago,that cajun New Orleans sound with the delta funk..and I must say that I am impressed with his *big band* sound..no one does it quite like our Harry!!!

The song selection is first class and the delivery exquiste,with Harry Connick originals spread evenly with the songs of Irving Berlin,Cole Porter,Sammy Cahn,Arthur Hamilton,and the incomparable Mercer and Mancini.Each gets the Harry Connick *touch* which hasnt been delivered for too long a time for my liking.I would recommend that you savour the timeless and magical renditions of *Charade* and *Love For Sale*and *Easy To Love*,sounds written in the golden era of songwriting and lovingly reproduced here.

The cheekiness of Connick can be seen in his renditions of *A Moment With Me* and *Come By Me*,and that delevoping style that has set Harry apart over the years, is evident throughout this recording.If you like your lyrics with romance,cleverness and feeling ,you will love this set.

The Band and orchestra sound marvellous,they individually shine on some tracks and then are brilliant together on others.The sound of the band in full swing is a delight that is sadly missed in modern music.Harry conducts arranges and writes ,sings and croons his way through this tour de force.The CD is expertly produced and arranged and engineered,and accolades should be given to both,Tracey Freeman and Gregg Rubin,a complimentary performance.

Since the passing of Dean Martin ,Frank Sinarta and others the Boardroom has been decidedly quiet,only the aging Tony Bennett seems to fill that void....but ladies and gentlemen,welcome Harry Connick Jr back on deck and ready to swing..there is a place at the top of the table for you Harry!!!Depending on your mood,4 1/2 stars but I can live with a rating of 5 stars..It is a delight.

Harry does it his way...and that's fine by me.
This is the first Harry Connick CD I've purchased, though I've been an admirer of his work since When Harry Met Sally. I would definately say that I got the most for my money. This album is a wonderful mix of standards and original works, combined with Harry's smooth, mellow voice and nimble fingers at the piano. I'm a huge fan of his more upbeat numbers. My personal favorites are Nowhere with Love (which wasn't exactly upbeat, but it did have a jazzy attitude that really appeals to me) and Come By Me. Some of his slower tunes seemed almost TOO slow at times. Perhaps a change in the order of tracks would have remedied this. I was especially disappointed with "There's No Business Like Show Business." I like this piece upbeat, fast. However, all of this failed to detract from my overall enjoyment of the album. The point is, I love it. I will absolutely be picking up some more of his work.

Harry Connick Jr.'s Back Again!
After few not very good albums (Whisper Your Name, She and Star Turtle) here it is swingin' Harry Connick!
Harry Connick Jr. is probably the first man who brought Swing back on top. Before Royal Crown Revue, Big Bad Voodoo Daddy, Indigo Swing... He's great!
On this album, there are only five originals (Nowhere With Love, Come by Me, Easy for You to Say, Next Door Blues [instrumental] and A Moment With Me. Big Band is backing him and arrangements are great!

Cheesy
It's so sad when artists as talented as Connick take the cheesy, poppy (and yes, lucrative) route. I used to love this guy's piano playing and singing, but he has just gone and made such a cornball of himself that the only people that could like him are ones that consider what he does "jazz." Folks, this ain't jazz. Coltrane, Miles, Monk, Mingus---that's jazz!

One of his most mature efforts, jazzwise...
These arrangements by Harry Connick are ring in 1950's Nelson Riddle or Billy May tradition. Frank Sinatra would be peroud that there is someone carrying on the ratpack tradition. This cd swings, I mean like mad!!! Connick's vocals are smooth and smokey and he sounds like he's just come out of 1945 after WWII. A great cd by a real swinger!!! And harry has not sung thsi many standards sicne the Harry Met Sally soundtrack! Great!!! in fact the Greatest, huh Phillip? Yeah!!! ... Read more

Reviews (11)

OF GREAT INTEREST
The first 8 numbers were actually ELLA 's first LP.At the time for those old enough to remember LP's were shorter,it's going to change in 1955.That album was actually a prelude to ELLA's massive GERSHWIN songbook of 1959.You always can tell if a singer is good if he is only back up by a pianist,such is the case here and ELLA was indeed a wonderful singer capable of putting her voice againt all sorts of arrangments.The other songs were in a 1954 lp and what a great choice of material that was:2 early SAMMY CAHN songs;superb versions of STARDUST and MY HEART BELONGS TO DADDY who are alone worth the price of this cd of great interest to all ELLA FITZGERALD fans.From now on, NORMAN GRANZ will take the singer's interests ,even if a contract was never signed between them, which proves how one respected the other.If you should buy only one ELLA not in the songbook collection,this is the one.

Like an Intimate Evening with First Lady of Song
The year is 1950 or 1954. Imagine that you're inviting an emerging star to sing for you at a dinner party. The singer is the inimitable Ella Fitzgerald. The result might have been this -- "Pure Ella", just her and pianist Ellis Larkins with his trademark feather touch. In a few years from then, Ella re-did most of these tunes for her "Songbook" series, when her voice was -- and that's remarkable -- clearer, sounding like a young girl's, when she was already in her early 40's. Anyway, what we have HERE is Ms. Fitzgerald in a relaxed, soothing mode with no frills. Her pure and ripe voice will stroke and caress you and you'll be glad you can listen to this CD... The highlights include "But Not For Me", "I've Got a Crush On You", "I'm Glad There Is You" and "Until the Real Thing Comes Along", as for Larkins' artistry, suffices one listen to "How Long Has This Been Going On?"

The swinging angel sings
This truly is PURE ELLA, no strings or brass, just her voice and the piano.
The perfect recording for a dinner party or an evening sitting by the fire.
This selection of rarified show tunes, many by the Gershwins, are given the royal treatment by Ella and her sublime and swinging pianist, Ellis Larkins.
You can't go wrong with this CD.

Be Careful What Ella Fitzgerald You Order
Be careful that you are ordering the right Ella Fitzgeral CD. There is another outstanding Ella Fitzgerald CD by almost the same name that is very different. It is called "Pure Ella: The Very Best of Ella Fitzgerald," and it is the best Elle Fitzgerald ever made.

So don't accidentally order this CD thinking you are getting the other one.

This very enjoyable CD shows a nice side of Ella with the Piano and Gershwin songs, and would make a nice addition to your collection. But it would not be one of my first three choices by Ella Fitzgerald. My first choice would be the other one: "Pure Ella: The Very Best of Ella Fitzgerald," released in 1998.

Pure Ella, indeed!
This collection of songs is really 2 CDs in one. The first eight songs are a reissue of the classic "Ella Sings Gershwin" album from 1950. Although she was 33 at the time she recorded these, her voice hadn't quite hit its peak. Still, she sounds amazing, and she and pianist Ellis Larkins really swing on "My One and Only." Most of the songs, though, are ballads, with "But Not for Me" and "Someone to Watch Over Me" receiving excellent treatments. The rest of the CD comprises the 1954 album "Songs in a Mellow Mood." Her voice had matured by this time, and she's clearly more comfortable with the material; she really stretches out on these songs. "Until the Real Thing Comes Along" is particularly nice. This is a highly recommended CD. ... Read more

Reviews (24)

Buy the two CD import version from Amazon.com
I wish to thank Reviewer Santiago Millan Caballero for his warning. I bought the two CD set from Amazon in Germany and it is complete and wonderful. Now Amazon.com sells this same 2 CD set as "Live at Carnegie Hall [IMPORT]" made by BMG number B000006SUU. This record is a strong emotional experience.

Classic Belafonte voice, wonderful to sing along with.
As mentioned previously, if you had ever heard the entire concert on album you will be disappointed with this recording. They have cut out the fun stuff that went on, and a few of the more touching and difficult songs. Get the entire recording instead of this.

Where's the beef... err, I mean songs?
This is one reason (among many) why I dislike the record companies... if it ain't Brittney Spears, they can't be bothered to do a proper release, or keep it in print for very long. It's also a major reason why I recently bought a good turntable -- so much of the huge back-catalog of music from this time period remains locked up & rotting in record company vaults somewhere, probably never to see the light of the Compact Disc format. Also, the original records (pre-1980) often sound better because the master tapes were fresh when the LP's were pressed. I've heard too many CD "remasters" where some engineer tried removing tape hiss and ended up neutering the music (not saying this one, but in general...).

Somehow, the movie industry is getting it right with DVD's, but the music industry keeps on making the same blunders. *Please*, if it's going to be a chopped-up version of the original, don't bother releasing it at all. Today's generation of younger folks (among others) don't deserve to be treated this way.

Review is for import title.
The 2cd import cd's are the original vinyl pressing from the sixties. Probably the only lp's my Dad played which I didn't get upset by ;-) I was a folk musician/fan at the time(still am) and this fell right in line with my taste.

Ronm

Something is missing
The audio quality of this CD is excellent. However, it was disappointing to find that at least 4, maybe as many as 6 songs from the original LP recording were missing on this reissuance on CD. ... Read more

Amazon.com

The pundits claim that Ol' Blue Eyes did his best work with Columbia in the '50s, but there's more great '60s and '70s stuff here than you can shake a stick at. After all, Sinatra wouldn't start his own label only to sing schlock. This four-CD set was released to celebrate The Chairman's 75th birthday and it traces the mellowing of that tremendous voice like the aging of a fine wine. It also adds eight unreleased tracks to a staggering song list highlighted by biggies like "New York, New York," "My Way," "The Way You Look Tonight," "It Was a Very Good Year," and "The Song Is You." --Michael Ruby ... Read more

Reviews (29)

A Great Set - But the Capitol Years Box Set Is Superior
This was the first Sinatra Box set I ever purchased. It's a great one to own. I'd say that it's the second box set you should purchase. Sinatra is only in good voice, however on the first 2 1/2 discs. Much of the material on disc 3 & 4 is from the 70's. Frank decided to enter retirement in 1971 because he felt his voice and recordings were not up to his standards from the late 50's (with Capitol) and first 10 years on his own label (Reprise) during the 60's. Cigarettes have gotten to his voice by disc 3 and changed it to a croak by disc 4. Sinatra is in his best voice on the Capitol Years, and the tunes reflect a "prime-of-life" feel. The Reprise Collection reveals and older, more reflective and egomaniacal Frank, more akin to Joe Piscopo and Phil Hartman's parodies. The smart money is on the Capitol Years. Trust me on this one...I own nearly everything Sinatra's recorded.

A fantastic set, well worth the money
Well, a few years ago I bought the single cd sampler of this set, and I realized I needed more, so I bought this wonderful boxed set from Reprise. At the time that was all the Sinatra I had. It got me addicted, and I continued to buy the larger boxed sets during the following years (The Complete Reprise, The Columbia Years, and the 21 CD British import "Capitol Years", which I highly recomend). But this was a great starting point for me, as it contains a variety of styles and arangements of his best songs. You'll hear songs from the early sixties through the late eighties, witnessing the great transformation of his voice as he aged through the years. (Don't let anyone tell you that disc four is not up to par, it contains some of his best work of his later years. There are so many highlights in this set I won't even mention them, just buy it and you won't regret it. The booklet is also very informative and contains pictures of many single and album sleeves. I highly recommend this set.

Looking for "This Town"???? Help!
I'm looking for the song "This Town" that was played in the movie "Matchstick Men"....can anyone point me in the right direction? I've looked on all 3 box sets, (for Columbia and Capitol as well)...thanks for your help!
iowahawk11103@yahoo.com

Excellent Box Set
I have both this set and the Capitol Collection, and this is a much better set for the newer Sinatra fan such as myself. This set has a lot of the newer songs such as "My Way" that I think are his best work. I have never been a Sinatra fan (Although I liked certain songs such as "Thats Life"), but as I get older, I have learned to like him much better. One thing that is very interesting about this CD, is that there is a lot of humor in in songs like "Me And My Shadow" and "Soliloquy". If you really want to discover Sinatra, as I have, it is a must in your collection.

A MASTER AT HIS PEAK!! "5 SHOOTING STARS!!
WHEN THIS BOX SET CAME OUT, I WAS COMPLETELY IN 7TH HEAVEN AND BOUGHT IT THE WEEK OF ITS RELEASE!! BY THE TIME MR. SINATRA CREATED HIS OWN LABEL, HE WAS AT HIS VOCAL PEAK AND STILL GROWING!!!MR. SINATRA'S REALLY BEST WORK REALLY HAPPENED AS HE GREW OLDER AND RIPENED LIKE GRAPES FOR REALLY FINE WINE, AND THAT IS EXACTLY WHAT HIS VOICE DID-IT GREW DEEPER AND RICHER!! LISTEN TO HIS INCREDIBLE TAKE ON THE CLASSIC "WHAT ARE YOU DOING THE REST OF YOUR LIFE" AND YOU WILL SEE EXACTLY WHAT I MEAN-THIS IS TRULY A MASTER AT HIS PEAK!! THIS IS THE BOX SET TO HAVE OF THIS GREAT SINGER AND NEVER WAS HE MORE SOULFULLY AWESOME THAN ON THESE WONDERFUL TRACKS. IF YOU HAVE A LOVE FOR GREAT SINGERS AND THIS WAS A ONCE IN A LIFETIME TALENT, THEN DON'T MISS THIS ONE!! GUARANTEED YOU WILL PLAY IT FOR YEARS TO COME!! WE REALLY MISS YOU FRANK!! THANK YOU FOR ALL THE GREAT YEARS-THEY WERE PRICELESS!! ... Read more

Amazon.com

The great acting by Campbell Scott, Stanley Tucci, and Tony Shalhoub explains only some of the magic of Big Night, for the trio share the screen with shot after shot of mouthwatering food and a lively Italian-American score featuring Louis Prima, Rosemary Clooney, Claudio Villa, and Keely Smith. The appearance of Prima himself at a restaurant opening plays a crucial role in the film's plot, but his music included here tells a different, much more joyous and carefree, story. This is one of the few retro soundtracks that don't resort to kitsch or lounge clichés, and all the Italian-American tracks work together well. --Jason Verlinde ... Read more

Reviews (15)

Made me wish I was Italian!
I love this CD. The music is joyful, emotional, funny, melancholy; it will make you laugh and cry (while smiling). The Louis Prima cuts are superb. Rosemary Clooney's Mambo Italiano is a classic. The whole collection of songs makes you long for more like them. Play it while you're cooking - play it loud. This is one of the best CDs I own. I've ordered copies for friends, because I know it will make them feel happy when they listen to it. Highly, highly, highly recommended!

Great Italian Vibe
I loved the film and love the music on this CD even more. The Louis Prima / Rosemary Clooney cuts are great fun but check out Claudio Villa and Matteo Salvatore 's numbers. They are so wonderful! Real Italian music with soulful vocals and great musicianship.
Great music to play at a dinner party (to borrow from the film itself) but equally great to listen to seriously at anytime.

Great intro to Italian-American experience
My husband is a second generation Italian-American and played this CD so much that it started growing on me. Actually, he played the movie from which this sound track was derived until I went nuts and got this CD for him. Although the movie is wonderful until you've seen it more than ten times, then it gets old, this soundtrack is timeless, and all the more so when my husband tells me what it was like growing up in his culture and listening to Louis Prima and other Italian and Italian-American music.

Everything on this CD by Louis Prima is excellent. My favorite track of his is Buona Sera, but I also love the rendition of O Sole Mio with Sam Butera's fantastic saxophone work. Rosemary Clooney's Mambo Italiano is the sort of song that stays in your head even when you wish it would leave. It's delightful, but a tad too catchy. A bit of history: this was a successful hit for her, but she didn't like it, nor did she understand why it became a hit.

Claudio Villa's "Strada del Bosco" (road through the woods) and "Tic-Ti Tic-Ta" are two of my favorite Italian tracks, with "Pescivendolo" (fish monger) a close third. Of course, if you saw the movie, the first track, "Stornelli Amorisi" by Claudio Villa will be immediately recognizable and will stick with you.

I was not keen about the instrumentals ("Art of Art", "Dinner", "Pascal's Waltz", or "Big Night Theme"), but that may be because those tracks were so integrated into the movie that they just didn't sound right on a CD. I was also not too keen about Keely Smith's "Don't Take Your Love from Me". It just didn't have the same energy as some of the recordings she made on other records with Louis Prima. They were made for each other, and this track without his strong (overpowering?) presence and style shows it.

All in all, this is a well put together set of tracks that capture the very essence of the Italian-American experience of my husband's generation, and that before him. It will also give you an aural reminder of how delightful the movie - The Big Night - was the first time you saw it. And if you haven't seen it, you should.

Great gift for any one, italian or otherwise!
I recently gave this CD to my friends who are deeply involved in our Italian heritage and travel to Italy quite often. They received the CD on their way out to a weekend getaway and listened to it all the way in the car. They said that they can't wait to host a dinner party just so they can play the CD for thier friends. The movie, which we all watched together before these friends moved away, was great fun and so is the CD! It makes you want to sing out loud, tap your feet....and of course, eat!! Mangia! Mangia!

HEY MAMBO!!
This movie has to played in the kitchen. While the sauces are stirring and the dough is rising, dance away your blues covered in noodles, flour, and Louis Prima and Rosemary Clooney. They're not the only fifties era talents Stanley Tucci (director and star)gathered together to add flavor to his perfect movie about two brothers struggles to keep their Italiano restaurant open.

I always play this when we have friends over in the summer for grillouts and fun sit-down dinners. They all want to know where we got the music, which leads to our recommnedation of the movie. It's amust see!

Try Tucci's other flic 'The Imposters'. The soundtrack for this features a lot of 1930/1940s old fashioned radio sounds. ... Read more

Reviews (8)

Tuneful and romantic film score.
I would actually give this lush score three-and-a-half stars. The majority of this soundtrack to Barbra's second film as a director (which was a box office smash, by the way) consists of James Newton Howard's Oscar-nominated score, which is lovely and romantic, if a little too lightweight at times. However, the main attraction to this disc are the two newly recorded vocal tracks by Barbra - both are excellent and neither were used in the film. Barbra takes on the jazz standard "For All We Know" (an instrumental of which is heard in the film), and her lovely take just may be the definite rendition of the song yet.

Alan and Marilyn Bergman contribute lyrics to Howard's main theme for the soundtrack's other song, and the result is the lovely "Places That Belong To You." Barbra's beautifully restrained performance complements the thoughtful lyrics and wistful melody perfectly, and "Places" easily stands as one of her best understated single recordings. While the two vocal tracks alone make this disc enough for fans, the soundtrack receives such a high rating because the entire album (the score in addition to the two songs) is consistently lush and entertaining.

Too depressing after the movie
The music on this CD is fabulous in the movie, which plays out with a different sort of plot than NUTS, yet similarly dramatic. POT, the music enhances the movie's drama without being overbearing. However, on it's own, if you've seen the movie first, or went through the rooting for Barbra to finally find love in real life (POT was produced before she met James Brolin), the music, while including a couple passionate pieces, is too depressing to stand out as a best. Well done, but grabsomething instrumentally funny or you might end up under some heavy violins for a while.Might have felt differently about this one if I didn't see the movie first.

Romance at its best.
This is one of the most moving musical selections I haved ever come across. Being a Barbra fan is what pushed me to buy this soundtrack. It has a wonderful score which is presented in the 1st track "Main Title". The score is then duplicated throughout the album in different keys and tones to create a completly different feeling or emotion. The final track on the album entitled "The Places that Belong to You" is a wonderful vocal by Barbra. In that song they take the score and add lyrics from the point of view of the two main characters of the movie. I, myself, think that the most notable track on the album is "For All We Know" the Barbra Streisand version. It is a jazz/blues remake of the original Bille Holiday version. Barbra soars through it with intense, pure vocals. The last two songs on the album ("The Places that Belong to You" and "For All We Know") are not featured in the movie but were recorded especially for the soundtrack. Anyone who enjoys Barbra music, clasical music, or just the movie will very much enjoy this soundtrack.

BEAUTIFUL MUSIC
This is one movie sound track I cannot get enough of. James Newton Howard has really done some amazing work here. He has done other soundtracks including "DYING YOUNG" and several others. I can hear his sound and know it is him before I even look at the writer of music. This music sets the mood for relaxing the morning away. As I sit and read on a Sunday morning this has become my favorite music to read to...a perfect way to start a sunday..........I have been listening to this since the day it came out......GREAT

Zzzzzz...
Overly lush sentimental music, a powerful weapon against insomnia. ... Read more

Album Details

Island in the Sun Collects Number One Hits and Old Favorites by the Multi-Talented Harry Belafonte. Includes the Banana Boat Song (Day-O), Mary's Boy Child, Scarlet Ribbons (For her Hair), Jamaica Farewell, Don't Stop the Carnival, and 15 Others. ... Read more

Reviews (5)

Great
I have been looking for some of these songs forever. However one of my all time favorite Belefonte records is "Love Is a Gentle Thing" please, please please put this out in CD.
Scarlet Ribbons and Turn Around are just a taste of what is on that wonderful record.

THIS IS GREAT - BUT WE AGREE WITH OTHER REVIEWER
My husband and I also have been trying to find what we think are among the 2 best Belafonte lps we have - "Love is a Gentle Thing" and "In My Quiet Room". There are so many albums of his with duplicate songs - we just wish his promoters would let us buy these special two. We still have 15+ of his lps with non-dupe pieces we would love to find in collections without getting ones with 95% songs we already have on them.

Eureka!
Having searched widely for a cd of "Love is a Gentle Thing", one of Belafonte's finest lps of long ago, and finding none, I was thrilled to locate a key song, "Turn Around" on this collection. Wonderful for a wedding video!

Harry Belafonte brings back to me my childhood
I heard this song when my father played it in his gramophone during the Nigerian civil war. I was thrilled when, as a 4 year kid, I started dancing to the tune. Especially the song "Day O". I am looking forward to the day I will meet Belafonte. I will thank him for reserving the memory of my childhood as a 35 year old man.

Fred Ejike Anigbogu

Disappointed
I bought this CD because it was the only one I could find on the Internet that had the song 'Jump in the Line' which was featured in the film Beetlejuice and which I particularly wanted. I also wanted to own other songs he had hits with in the past.On receipt I have thoroughly enjoyed his hits but I am disappointed they are not originals. Maybe 'Golden' should have given me a clue. ... Read more

Reviews (30)

Incredibly hip swing from a guy no older than me.
Like others, I first encountered Harry singing "Danny Boy" in Memphis Belle. What a style! What A VOICE! I kept rewinding the tape! I wondered whether he was a real singer (at the time) or "dubbed", so I hit the music shop and there he was. Of course, I was looking for "Danny Boy" but I found Blue Light,Red light and bought it. TOTALLY HOOKED. He's brought 40's style swing to the 90's for all of us new kids. The album has a lot of different flavors, but all done with the Big Band and his unique style. A little long though. Otherwise, very cool.

Can never be replicated
This is by far Harry's most complete album. I got this CD in 1991 when I was twelve and just getting into music and fell in love with it. Thirteen years later I am still listening to the CD. It starts out with a powerful ballad in Blue Light, Red Light, comes to the halfway point with a great dixie land swing mix in With Imagination (great solos) and ends with a high energy big band piece, Kiss Me. People who appreciate jazz and music alike will be assured to enjoys hours of listening. P.S. Go see Harry live, the man puts on a great show and is an audience pleaser.

My favorite
This album is by far my favorite of all Harry's offerings. I first saw him on Donahue ages ago and ended up getting this CD. Harry since put out several other albums trying to re-invent himeself along the way with a little funk but the songs from Red Light Blue Light are what I measure all his other albums up against.

Harry on Red Light Blue Light is backed up by an extremely talented big band whom much of which are also featured on a Harry Connick Jr. DVD I highly recommend called The New York Big Band Concert.

The BEST of the Best
My mother, guided by a recommendation from a store clerk, bought the cassette of this album for my father on their wedding anniversary. So my very first exposure to Harry Connick Jr. was by chance. Or rather, by destiny: as this album has inspired me in more ways than I can describe.

Six years later, after having worn out two tapes, i bought the album on CD. Now, five years after buying the CD, I plan on buying another - as it's been played over and over and over, causing much abuse.

A romantic effort with emotion so deep it is best measured in leagues, every song on the album is an amazing listen. From the beautiful title track that tells how all one needs for happiness is love to "He is, They Are" that tells of the care of a single father, Harry's voice takes you on a musical journey of which is likened to a quiet stroll in central park (or perhaps Berkley Square) on a warm August night.

His voice is often compared to Frank Sinatra and Bing Crosby, yet he remains undoubtedly his own - with a swing that is straight from 1943. Sometimes sweet, sometimes hot - the jazz is always grooving, rich and enveloping with instrumentation that is nothing less than perfect - thanks in no small part to solos by Leroy Jones (trumpet), Jerry Weldon (tenor sax), Brad Leali (alto sax), Ned Goold (tenor sax), and Russell Malone (acoustic guitar).

Enjoy "A Blessing and a Curse" and "With Imagination (I'll Get There)." Delight in romance with the likes of "She Belongs to Me" and "If I Could Give You More." Have fun with "Just Kiss Me" and "You Didn't Know Me When." Shed a tear with "Sonny Cried" and "The Last Payday." Listen to "Jill" and consider if it isn't the best Love song you've ever heard.

"Blue Light, Red Light" is, without a doubt, Harry Connick Jr's best album. I can say this because I own all of his albums. Proudly.

Treat yourself to good music with passion and soul and travel into the far, shadowed corners of your own heart and see what you discover. Treat yourself to "Blue Light, Red Light."

The Best
People have asked me to give my opinion on Harry's best CD. That's like asking me which New Orleans restaurant is my favorite-too many great ones to choose from.

Nonetheless, if I have to give an answer, 'Blue Light' is the one to pick as the centerpiece of your Connick collection for all of the reasons listed by other reviewers and more.

I've listened to this CD dozens of times and am in love with every track. I would also like to thank Harry for improving my love life. ;-)

As the rock group Boston says, "Just listen to the record." ... Read more

Amazon.com essential recording

A 43-year-old Ella rolls through her typical routine in feistyfashion on this 1960 recording, which documents the opening show of herEuropean tour. There's the Satchmo impersonation (a joyous "Mackthe Knife"), the lengthy scat showcase ("How High theMoon," on which she quotes Charlie Parker's"Ornithology"), and a bevy of Gershwin and Porter tunes.Supported by pianist Paul Smith's quartet (with the elegant Jim Hall onguitar), Ella's voice sounds earthier than usual and her phrasing is asappealing as ever. She's sublimely tender on "Misty" andwonderfully sultry on "Too Darn Hot." The CD reissue includestwo unreleased tracks from the Berlin concert plus two 1956 gems(including a stylish "Love for Sale") that were mistakenlypressed on this release. Upon its initial release, the album picked uptwo Grammies and peaked at number 11 on the Billboard Pop chart; itsacclaim was well deserved. --Marc Greilsamer ... Read more

Reviews (27)

A Worthy Purchase
Ella in Berlin would be worth buying just for the two tracks, Mack the Knife (where she makes up new lyrics when she forgets them) and How High the Moon (doing what Ella does best--scatting). The other songs she sings are excellent as well.

There are a lot of "Best of" or compilation albums with those two tracks on them, but it's always nice to get the originating album. Otherwise, you end up only listening to a narrow range of Ella's work (the most "popular"--even though nearly everything she sings is great). This album would still be a worthy purchase (but not as spontaneous and exciting) without the last two tracks. And even if you have a compilation album with the two famous tracks, this album is still recommended--after all, it's the First Lady of Song singing.

NOT Ella's Best Live Recording
Yes, you heard it right. I know I will get hate mail for saying this, but I will go out on a limb to say Ella has produced BETTER live recordings captured on CD elsewhere. This is no reflection that her Berlin concert was bad. Perhaps Ella has been a victim of her own brilliance for always achieving near perfection in her live performances.

Listening to this CD, the obvious highlight is the oft talked about title track, "Mack the Knife", where Ella forgot the lyrics a minute into the song and made up the rest of the words without skipping a beat and perfectly improvising to the song's melody a la Fitzgerald. It's a miraculous feat that has entered the jazz hall of fame and folklore as one of the greatest moments not only in jazz, but in music history. "Mack the Knife" solidified Fitzgerald's standing in the music biz for the rest of her life, helping her escape the shadow of overwhelming sentiment and praise for Billie Holiday after Lady's premature death from a lifetime of drug and emotional abuse. The other great track here is the 8-minute track "How High the Moon" that Ella scats with a frenetic, pulsating charm that leaves you breathless at the finish line.

But aside from these two standout tracks, the rest of the CD isn't all that memorable. The marvels of modern CD technology has unmasked a detected fatigue in Ella's voice that she somehow cannot hide. Maybe it was the killer tour schedule (mentioned in liner notes) that did her in, but it's definitely noticeable. If you're mostly curious about the two great tracks, "Mack the Knife" and "How High the Moon", I would recommend purchasing those tracks elsewhere on many of Ella's compilations (Compact Jazz on Verve being one). For the best Ella live recording, I strongly recommend "Ella in Rome: the Birthday Concert", which is still in print and captures a fresh, invigorating Ella nailing down 15 outstanding tracks (though no "Mack the Knife" on that one).

Well done live jazz album
Ella is one of the greatest jazz female vocalists, and her live performance with an excellent jazz rhythm section (piano, bass, drums, guitar), is the reason you should buy this album, especially if you like jazz music.

Most amazing Mack The Knife version ever
This is a must-have Ella record. All of it is very good, but the version of "Mack The Knife" is staggering. Ella is performing this new tune live in Berlin, the home town of authors Kurt Weill and Bertholt Brecht while Bobby Darin and Louis Armstrong were charting wtih very popular versions of their own. It's a true testament to her talent as an entertainer that she won the Grammy (not Bobby or Louis) for a version WHERE SHE FORGOT MOST OF THE WORDS and improvised brilliantly! Truly one of the most remarkable vocal performances ever to win a Grammy.

All the praise is so well deserved, and I have to add!
I love Ella Fitzgerald, and I rarely do I go a day without listening to an Ella CD since I've been introduced to her outstanding talent. I went out on a whim and bought this album, expecting great Ella as usual. But how wrong I was! I have never been so crazy about an album as I am about this one. Every song is out of this world and the accompaniment is just as wonderful. Standouts include "That Old Black Magic", "Too Darn Hot", and my personal favorite "How High the Moon?" Whoever said Ella lacks feeling in her delivery needs to listen to this album, and recognize that melodrama does not always equal feeling. Ella epitomizes sunniness and spontaneity in this live album that I wouldn't give anything less than five stars. If you love Ella, do yourself a favor and buy this album -- thinks ranks as one of her top recordings. ... Read more

Reviews (9)

No argument that this is the BEST of Sammy Davis, Jr.
"I've Gotta Be Me: The Best of Sammy Davis, Jr. on Reprise" tells you right up front that these hits are limited to recordings from the Sixties, when Davis was recording on the Reprise label and proving himself to be one of the most versatile and popular entertainers of his generation. This means you are not going to get his only #1 pop hit, "Candy Man," but you are going to get some of the best songs Davis ever recorded, including his hits "What Kind of Fool Am I" (#17), "As Long as She Needs Me" (#59), "The Shelter of Your Arms" (#17), and "I've Gotta Be Me" (#11).

The first two of those hits represents Davis as one of the definitive Broadway cover artists of the decade. "What Kind of Fool Am I" is one of several songs written by Anthony Newley and Leslie Bricusse recorded by Davis that were for the show "Stop the World--I Want to Get Off" (including "Once in a Lifetime" and "Gonna Build a Mountain" in this collection). For some reason nobody could ever since an Anthony Newley song like Sammy Davis, Jr. "As Long as She Needs Me" is a gender reversal of a song from "Oliver." The other songs represent the skills of Davis as a vocalist, showing what he can do with songs with greater depth. In the first half of the decade Davis was probably most associated with "What Kind of Fool Am I," but at the end of the decade "I've Gotta Be Me" was clearly his signature tune. In that transition you pretty much have the career of Sammy Davis, Jr. in that decades in a nutshell.

Yes, at times the songs have a little bit too much Vegas in them, but that is why as good as Davis was in a studio he was even better when you got him on stage with an audience. Therefore, the other album you most definitely want to check out from this period would be "Sammy Davis, Jr.: Live at the Cocoanut," which captures Davis at his height as a nightclub entertainer. Together with "I've Gotta Be Me" they are essential Sammy Davis, Jr. recordings for the simple reason they best capture his essence as the man considered the greatest entertainer of the world during the decade of the Sixties. Given the limiations that reflect what label he was recording with, you will not find an ultimate Sammy Davis, Jr. hits collection, so if you are forced to go with just one for some strange reason, this one would be the one you want.

A true celebration of Sammy's music and spirit
This CD is not only a wonderful collection of 15 terrific songs; it is a true celebration of the life and spirit of the uniquely gifted Sammy Davis, Jr. The story and meaning of this album are told extremely well in the extensive liner notes included with it. All of these recordings were made under Frank Sinatra's Reprise label in the early 1960s, a decade in which popular music celebrated communal living and shared nonconformity rather than individualism. Sammy's message of empowerment, truth to oneself, and triumph over all the obstacles in one's path are thus much more significant when viewed in this light. Sammy overcame tremendous roadblocks on his way to success: born a poor, black child in a white society, Sammy was battling and overcoming racism long before Martin Luther King brought the issue of civil rights to the forefront; his conversion to Judaism only increased the prejudice he had to overcome in life. This is a man whose loss of one eye in a tragic auto accident sidelined him only a few weeks. Having pushing himself to achieve everything he set out to do, remaining true to himself all the while, he made himself a source of great inspiration to those of us who came after him. Sammy made a number of mistakes along the way, as he freely admitted, but he overcame even these self-imposed obstacles and truly lived every day of his life. This collection of life-affirming songs is truly one of the best Sammy CDs I have found.

Many of these songs are actually show tunes from such Broadway productions as Stop the World-I Want To Get Off, Oliver, The Roar of the Greasepaint-The Smell of the Crowd, and Golden Boy. "Yes I can" was Sammy's mantra, and as such this song best summarizes the spirit of this collection. Once in a Lifetime is filled with energy, encouragement, and self-realization, as is the gospel-based Gonna Build a Mountain. What Kind of Fool Am I? comes off not as a self-deprecating song of regret but as a beacon of self-realization and self-improvement. I've Gotta Be Me will forever stand as an anthem for those who refuse to subjugate their individualism to the fickle whims of the crowd. Any thoughts of brashness or inflated egotism on Sammy's part are beautifully banished by such tunes as Who Can I Turn To, Lush Life, As Long As She Needs Me, I Want To Be With You, and The Shelter of Your Arms. One particularly noteworthy track is Here's That Rainy Day, which comes from Sammy's album of songs performed to the accompaniment of the amazing Laurindo Almeida's guitar and nothing else. Stranger in Town is a wonderful jazz song written by Mel Torme. If I Ruled the World is the perfect way in which to end this album of diverse yet meaningfully related songs.

Sammy wasn't just an incredible singer and performer; his songs meant something, and the upbeat message of Sammy's music and life is a continuous source of inspiration and great pleasure to myself and to all those devoted to this man who showed us how to live life to the fullest, stand up for one's self, and, when encountering criticism, work even harder to prove the critics wrong. Sammy truly was the greatest entertainer to ever live, as this CD does much to prove.

Buy This CD
Whether you are new to Mr. *D* or an old fan, you will find "I've Gotta Be Me: The Best of Sammy Davis, Jr. on Reprise" as Sammy's best work.
First the sound quality is very good, something that is somewhat lacking on the live CDs. Second the time and effort that Sammy and his orchestrators put into this great work is obvious. Sammy's timing, his heartfelt vocals, and emotions pour out in all its glory. To say it's a first rate performance is an understatement.
The selection of songs is wonderful-- from Billy Strayhorn's sad and depressing "Lush Life", to Lee Adam's upbeat "Yes I Can!"
If I was to buy only 1 Sammy CD, this would be it ...with "The Wham of Sam" a close #2.

Whether I'm Right, Whether I'm Wrong
This, I imagine, is what Vegas sounded like in the years when Vegas was really VEGAS. It's whiskey-and-cigarette two a.m. music at it's most dramatic.

"Lush Life" meanders a bit, but "A Stranger In Town" begins to pick up the pace, and Davis begins to pull out the stops on "What Kind Of Fool Am I."

"I've Gotta Be Me" is an absolute masterpiece, a powerful cry of self-impowerment that is as stirring today as it was upon it's release. Is it a tad over-dramatic? Maybe--after all, it's a Broadway tune. But, for those of us who got downright nauseous listening to "Candy Man" four million times, "I've Gotta Be Me" is a revelation, a vocal so big and full of life that it just can't be overlooked. It's old-style Hollywood, old-time Vegas.

By the way--anybody else remember watching Davis shoot his six-guns on the old Merv Griffin show? That was great stuff.

Fine set from an under-appreciated talent
Sammy Davis Jr never seems to get the credit he was due, but the man could truly SING. A couple of years ago, TVLand showed a concert featuring Davis, Dean Martin and Frank Sinatra performing for charity in St Louis. While Frank and Dean were their usual relaxed and confident selves, Sammy seemed to be on a different plane of intensity. Growing up in the 60's, I tended to define his sound by the narrow parameters of "Candy Man" and "I've Gotta Be Me". While that latter cut is included here (and is a highlight as his voice soars over a powerful arrangement), there is SO much more.

First let me say that I completely agree with the liner notes that say "no one celebrates the self as gloriously as Sammy Davis Jr." Because what this set is about is the power of the individual: "Yes I Can", "Gonna Build a Mountain" and "If I Ruled the World" are moving testaments to that faith, and they ought to be everyone's anthems. But there are also some fabulous ballads here, foremost among them the Anthony Newley gems, "Who Can I Turn to" and "What Kind of Fool Am I".

Isn't it ironic, in a sense, that although the music of the Sixties seemed to glorify non-conformity, thirty or so years later much of the "rock" produced then (with notable exceptions of course, such as The Beatles) falls into a rather dull and predictable collectivist mindset, even down to a dress code of sorts featuring long hair, beads, tie dyes, etc, while the supposedly "staid" adult sounds of the period featured an artist who sang of the possibilities and inherent power of the creative individual.

Somehow, this stuff doesn't seem half as dated as groups like Strawberry Alarm Clock or Iron Butterfly. I never would have believed it back then...

To quote Sammy: "A star is the fool who will try anything in public and the genius when it works." ... Read more

Reviews (5)

THE UNPREDICTABLE DINO
We could call this collection the best and the worst of DEAN MARTIN.There is absolutely no reason to include the 6 songs that DEAN had already recorded the year before on his country albums.It's clear that REPRISE wanted to cash in on the EVERYBODY LOVES SOMEBODY hit single.On the other hand ,you have DREAM WITH DEAN which is an absolute must for the fans.You'll notice that the voice and the phrasing of DEAN comes across beautifully,and the singer gives the classic songs like FOOLS RUSH IN or BLUE MOON his own personal touch.If DINO would have cared to make other albums like this,he would have equal SINATRA all the way.Incidently,it is quite interesting to put alongside this disc FRANK's 1956 CLOSE TO YOU ballad album.

ONE HALF OF HIS BEST
One half of this two-album CD -- the first half, the album Dream of Dean -- is an absolute must for any fan of Dean Martin -- or even for any American popular music fan. The CD's other half, Everybody Loves Somebody, isn't a must, then again it's got the "hit" version of the title song...

Dream of Dean is a perfect collection of lounge-style cuts -- easy and laid back. The quality of arrangements, accompanying jazz ensemble and record fidelity are matched only by Dean's own wonderful voice. The second album on this CD is strikingly different and is a mixed bag.

If the big, brassy Capitol album This Time I'm Swingin' is Dean's best upbeat LP, then I'd say Dream of Dean is clearly his best intimate one. I only wish these two LPs were married together on one CD!

Worth the investment for Martin fans
While I wouldn't suggest this as the first Dean Martin album in your collection, it'll certainly interest if a hits collection has whetted your appetite for more. The CD of course features a pair of CDs that pushed Martin back in the Top 20 for the first time in years. Both of these albums contain radically different versions of Martin's signature hit "Everybody Loves Somebody" that shot him to #1 at the height of Beatlemania.

The first album "Dream with Dean" might be the crooner's best album. Backed by a small tasteful quartet this is the polar opposite of the music that is normally associated with Dino. (I.E big white goofy choruses, swelling strings etc). The album is all the better for that difference as Martin's truly beautiful voice (better to me than Sinatra's) is accentuated in all its subtle glory. The result is a stunningly intimate recording. On the opening cut "I'm Confessing" (one of his best) you can hear Martin breath as he uses his voice like a painter uses a brush to paint an emotional picture. His vocal really is confessional. The next few numbers give listeners a similar experience.

However, the record's flaws soon show their face. The arrangements though tasteful vary little from song to song and listeners are left begging for a little drama. Dean refrains from some of the more dramatic flourishes and slurs he was famous for but the album could have used an occasional flash of the old Martin charm just to mix things up. This really becomes a problem on the second half of the album when the material gets weaker with the dated "Smile" and the unbearably cutesy "Give Me a Little Kiss Will Ya Huh?". Still hearing Martin in this context is well worth the effort and the album is in general a success. While Martin had a reputation for being indifferent to just about everything, this is a real serious attempt at some kind of art.

The second album is more problematic and indicative of some of the problems inherent in Martin's career. It is kind of a slapdash affair with about half the stuff worth listening to and about half throw away garbage. "Your Other Love" is a dated period piece and probably the worst song ever written by Doc Pomus and Mort Shuman. "Shutters and Boards" and Bobby Darin's "Things" are way too derivative. And can anybody doubt that "Siesta Fiesta" was just recorded to fill album space?

On the other hand, the remade "Everybody Loves Somebody" is a marked improvement over Dean's previous recording by using the classic Martin formula updated with a rock like rhythm section. And it gives listeners a taste of humor and big drama just when we're overdosing on intimacy. "Baby O" is a good lesser Johnny Mercer number in the "Volare" mode and "My Heart Cries for You" is simply beautiful.

There are some flaws in the repackaging as well. While the sound is great there are no new liner notes except for the back cover. The inside flap contains pictures of the original back album jackets but no extra pictures. And there are no full size reproductions of the album covers. This is a loss because "Dream with Dean" sported a beautiful 60s type cover.

Still despite the flaws it's great to have this music available to show fans that Martin could be an artist in addition to being a celebrity.

GREAT COMBINATION OF TWO HIT ALBUMS
Both originally released in June 1964, these two albums, released by Collectors'Choice, provide a combination of totally alternate concepts in their musical viewpoint, yet share a common feature in the fact that one song is included twice for very commercial reasons. DREAM WITH DEAN is a quiet and very relaxed meander through a dozen standards, simply accompanied by four musicians Barney Kessel(guitar), Ken Lane(piano), Red Mitchell(bass) and Irv Cotter(drums). Dean is completely relaxed, and there is no doubt this minimal backing provides the perfect setting for his understated style which represents the ideal package for late night listening. The inclusion of songs like I'M CONFESSIN', I'LL BUY THAT DREAM and BABY WON'T YOU PLEASE COME HOME? give his tranquil vocal style the chance to weave its style clearly and romantically. Another included song is EVERYBODY LOVES SOMEBODY, which Dean had featured in his early career, and this new recording gave Dean's record producer, Jimmy Bowen, the idea that in a different musical setting, this song would find wider appeal. So with a soaring contemporary arrangement and chorus, the song was re-launched and became a massive hit single and the title of second best selling album included here, which provided the template for much of his following career and many Reprise albums. Its contents spotlight this new commercial aspect with all the songs light
and poppy, like YOUR OTHER LOVE and BABY-O which were carefully geared towards the hit parade and many radio plays. THINGS and MY HEART CRIES FOR YOU lean towards the country side of this renewal of the Dean Martin career.The contrast between these two albums make for very enjoyable listening and the whole package is highly recommended.

TWO GEMS FROM THE REPRISE YEARS!!
FINALLY, after all these years, the legendary Dean Martin's Reprise material is released on CD form. Collector's Choice Music is to be applauded for the outstanding work they are doing, getting ALL of Dean's albums on CDs, via "2fers" just like this one, featuring two albums on one great disc. While problems arose early on with this particular disc (initial pressings were in MONO) seems that's all been worked out and the music is grand. DREAM WITH DEAN is what many consider a "Dino Unplugged" session, if you will, away from all the glitz and glamour and hype and swing, just Dino and the boys in the small group, and you (and perhaps your sweetheart?) The music flows like a smooth warm brandy into a snifter here with the clever "I'LL BUY THAT DREAM" and the plaintive "SMILE", The sly undertones of "HANDS ACROSS THE TABLE" are also of note; as is Dean's reading of the time tested evergreen "MY MELANCHOLY BABY". Clearly an after hours mood album that even Frank "Mr. Concept Album" Sinatra must have been thrilled to hear, especially from his "paisano" Dean Martin! The next sides are back with the big band sound, most of which mark the first pairing of Dean with Ernie Freeman's orchestrating talents (the man who would be responsible for that "Hit Sound" we heard in the mid-60's that earned Dino his "Beatle Buster Martin" title) We all know the story behind Everybody Loves Somebody; it was recorded by Dean only as a passing suggestion by pianist Ken Lane (who also co-wrote the song) when sessions were short one song. It had been recorded many times before, but only Dean would claim the best of it when he iced it in the studios of Reprise. Don Costa's "Freeman-like" chart of the underappreciated country ballad "SHUTTERS AND BOARDS" is an excellent vehicle for Dean and it shows here. Get this CD, and all the others from the good people at Collectors Choice Music are making available! ... Read more

Amazon.com

At age 64, Sinatra recorded this three-LP (now two-CD) epic, a grandiloquent statement which attempted to sum up his career, as well as pay tribute to his status as America's greatest living singer. The result is at turns sublime, awful, and just plain bizarre; "Reflections on the Future in Three Tenses," Gordon Jenkins's bombastic suite that covers the last third of the set, almost gets over on camp value alone. Covers of such contemporary hits as Billy Joel's "Just the Way You Are" and Neil Diamond's "Song Sung Blue" don't really work, but "The Theme from New York, New York" is classic Sinatra all the way. If the Chairman of the Board never made another record, this would at least have made for a suitably larger-than-life exit. --Dan Epstein ... Read more

Reviews (15)

A near perfect masterpiece....
This album was recorded in 79 and sold and went gold in 80.....

The sound is near perfect and Frank's voice although aged still sounds strong and dramatic and mostly NOT re-recordings of older versions by Sinatra.

THE PAST: Top notch standards, top arrangments by Billy May which sometimes recreate the dreamy 40s style but updated with strings. And the fast songs swing which is to be expected from Billy May.

THE PRESENT: Mostly good songs and great arrangments with Don Costa.....lush sound. Some of the songs sound a bit dated today (some of them already were in 1980, as rock and roll songs are not as timeless as standards), but some of them became classics e.g. SOMETHING with a great Nelson Riddle chart and of course NY NY.

THE FUTURE: This piece is in a class by itself and a bit hard to digest at first but it will grow on you. It almost sounds like a movie score with a bit STAR TREK flavor in it. But the score is beautiful....and it's Frank probably doing the most classical thing he ever did. Gordon Jenkins's arrangements are excellent.

By the way, the orchestra on the past, present and future were 54, 50 and 154 pieces respectively. Also, on the future, the choir is 90 folks strong.

GET THIS ONE if you're a serious Frank fan.....

The sound is near perfect and clean!

Trilogy: Good, Bad & Bizarre
The "present" offers some songs that were considered modern at the time: "Something" by the Beatles is considered by many prominent Sinatra critics to be one of his absolute finest ballads ever. To me, though, it's just a good song without being remarkable. Other songs, like Neil Diamond's "Song Sung Blue", Billy Joel's "Just the Way you Are" and Presley's "Love me Tender" sound as if they're being performed by a Vegas lounge act, one of those poor imitators, not the greatest interpreter of popular music this world has ever seen. This could reflect Sinatra's lack of respect for the writers, however. As for "The Future" portion of the album... many critics pan it as being pretentious and bizarre. It may be both, but it sure is interesting, especially the final track in which Sinatra sings about his own impending death.

an A for ambitious effort
one of the most ambitious and wildly uneven recordings in the sinatra cannon.
some of it is superb, particulary the gershwin/standars work and there are moments in the material on disc two when siantra sings of learing lifes basic lessons when the listener is in a pop romantic bliss, but the moments are encased in long stretches of a disastrous misfire.
we have material here, like the majority of the world war none,
macarthur park,the god ditty, neal diamond, and the future bit that reminds one of some of the god awful drek recordings from cast members of the original star trek tv show.
its worth getting but be prepared to use that remote control quite a few times.

A classic.....an almost perfect album
This album is NOT for the beginning or casual Sinatra fan but MUST have for the serious music critic.

Perhaps one is overhelmed by the amount of music. Perhaps the fact that this album sold VERY well influences ones review.

But I simply LOVE almost all the music on the PAST and PRESENT and I am amused by the FUTURE which was defintely influenced by STAR WARS which came out a few years before this album.

Frank's singing on all albums is strong; his voice now older but still dramatic and very effective and romantic. The arrangements are ALL top notch and yes while some of them remind us of the 1940s a bit (so what??), they are updated and fresh which places them into the timeless category. Plus, the sound quality of 1940s recordings was of course nothing near what we had 1979 and since. Overall the sound is good; perhaps a bit bright but other than that, the albums sounds fat and solid..which it should, they're huge orchestras on here. If only DUETS I and II had sounded like this....

The songs themselves vary from classic (e.g. STREET OF DREAMS) to 2nd rate material (e.g. THAT'S WHAT GOD LOOKS LIKE) and some of the contemporary songs were already OLDIES by 1979 e.g. LOVE ME TENDER which came out in 1954. It just shows that standards are TIMELESS - a song can be written in the 20s and still sound fresh 50 plus years later when Sinatra sings it. JUST THE WAY YOU ARE on the other hand sounds dated by today's standards - it is an oldie reminding us of the late 70s - but a good one it is and Sinatra does one heck of a job swinging it hard. Perhaps when Sinatra sings a song it becomes a standard. YOU AND ME and MAC ARTHUR PARK are stunning and Costa outdid himself on the arrangmenents..same goes for SUMMER ME WINTER ME.

SINATRA's heart is in all the songs whether they're from the AMERICAN songbook (1920-1965) or from the rock era.

Granted, the FUTURE is a bit hard to digest at first but it will grow on you. Think of it as a movie on record....and then use your imagination......

An old favorite.
This album is like an old friend. After not hearing it for a long time, I'm glad we have it back. ... Read more

Reviews (1)

The Ultimate Collection
Yes, this is the ultimate collection--literally! In fact, it is a track for track reproduction of UTV's 2000 release, THE ULTIMATE COLLECTION. However, with that compilation now out of print, this 2005 MCA release is the definitive collection by default.Casual fans may still be satisfied with 1988's 12-track GREATEST HITS, but any serious music fan will want this comprehensive 32 track 2-CD set. Although she died tragically at age 30, she has continued to influence everyone from Loretta Lynn and Dolly Parton to Linda Ronstadt and Emmylou Harris and most recently LeAnn Rimes. But make no mistake, there was only one Patsy Cline, and songs like "Crazy" and "I Fall to Pieces" will be country classics for as long as there is country music ... Read more

Amazon.com essential recording

A wonderful meeting of two institutions of American music, this 1954 album was the finest recording of Louis Armstrong's later career, with the great trumpeter-singer turning to material that was very close to his roots. Both W.C. Handy and Armstrong had a complex relationship with the blues, an essential source for both Handy's popular songs and Armstrong's improvisational art, and these recordings touch on the heart of the matter. On "Yellow Dog Blues," a product of Handy's own early and chance encounter with the rural blues, there's a majesty that recalls Armstrong's early recordings with Bessie Smith. Armstrong is clearly inspired by the classic material and the chance to stretch out on record, and his regular band of the period joins in perfectly. Trombonist Trummy Young, clarinetist Barney Bigard, pianist Billy Kyle, and singer Velma Middleton contribute stellar solos and support, while bassist Arvell Shaw and drummer Barrett Deems do an exceptional job of keeping the slower tempos rock steady.This is a deeply moving and consummately executed performance. --Stuart Broomer ... Read more

Reviews (19)

"Nobody could have done it but my boy Louis"
The subject quote came from W.C. Handy himself at the recording session in 1955, and it was one I have always remembered from the day I first bought the LP in 1956 through the original Columbia Record Club. That LP has long since disappeared and I always despaired of ever getting another until, a couple of years ago, I spotted a CD whose insert shows Louis dresses in the uniform of what, I suspect, is a New Orleans jazz band. On closer insepction there were the magical words "Louis Armstrong Plays W.C. Handy." I had my beloved record back, albeit with new liner notes by Brian Peerless, written in 1986. Now I am happy to see that Amazon.com has it listed once more, only this time with the original album picture of both Louis and W.C. and including several alternate takes not included in the initial release. I will be ordering a copy soon and can only hope that it includes the original liner notes by George Avakian. Then the circle will be complete. "Down in Loosiana, Louis ..iana, land of Creole sous, patois, Mardi Gras, and romantic blues ..."

Defining Louis Armstrong
I bought this album as an LP in the early 1950's; It was one of the first LP's ever pressed, as I recall, and that is significant for lots of reasons. Mainly, not only was the sound better than 78 RPM records, the tracks could be as long as 30 minutes, allowing jazz to be heard as it really is/was, rather than limited to just 3-4 minutes.

Anyway, at the time I thought it was one of the best recordings I'd ever heard, and I still do. Louis was singing with Velma Middleton, Trummy Young was on trombone, and Barny Bigard at clarinet. This is the Louis Armstrong group at its peak, on this album.

As well as "modern" in its jazz interpretations and styling, "St. Louis Blues" is a double entendre, as Louis indeed approaches jazz sainthood on this track. The album has been remastered allowing better sound than even my new LP did, with Louis' vibratos and harmonics never in better evidence. The track also has what I consider to be the greatest short trombone solo ever made, by Trummy Young. You'll think he is playing a straight through steel pack muffler instead of a trombone, with a power and elegance no other T-bone player ever acheived.

The other tracks are all equally well done, and "Chantez Les Bas" is about as good as New Orleans jazz can get, again with Louis's scat and Trummy's Tbone well nigh perfect. "Long Gone" is funny and swings as only Louis can. His singing on all tracks is not only extremely high quality, it reveals Louis temperament and personality, and his back-and-forth with Velma shows that he never forgot he was a man's man as well as a gentleman.

If you want only one Louis Armstrong album, and want the best, this is the one. A true classic.

One of Armstrong's best...
This album is often hailed as one of Armstrong's best. This is no surprise: the music nears the miraculous. This is late Armstrong with a vengeance. Every song is a gem. Armstrong's vocals are beyond belief, and his duets with Velma Middleton add much variety and color to the music. The band is on as on can get. This is, in fact, one of those albums that one has to look very hard to find faults (I still haven't found any, but I'll let you know probably never).

The CD booklet tells the story of the making of this classic album. Its roots can be traced back to a business lunch in 1954, which proves that timeless art can have very humble origins. Also included is the story of reconstructing the tapes from the sessions of this album. The story is a sad one as the producer finds that many of the original material has been scrapped or "improved" (which more or less meant destroyed in this case). It's very interesting how the team reconstructed this album for its second CD release (its first release was in 1986 and not considered satisfactory for many reasons).

The bonus material is interesting in elucidating how this album was made and also offers a peek at Armstrong's methodology for putting together a song with his band. Armstrong's "Alligator Story" provides a fun aside to the music.

This album is only one reason why Louis Armstrong is considered one of America's best and most influential artists ever. Put it on and be convinced in under 10 notes.

POP'S IS TOPS
I have just recently bought this cd and have fallen in love with it. There is not much point writing it's praises as all the reviews below have done that. All I can say is that this is one of the best blues/jazz cd's that I have heard in a very long time. The mastering is fabulous and could have been recorded yesterday, that's how good the sound is.
The music itself is very traditional and has a New Orleans feel. It sounds as if the musicians are hamming it up, clowning around and enjoying themselves. This enjoyment will jump out of your speakers and you won't be able to stop yourself smiling. Velma's voice is pretty good too and you can tell, she's enjoying this recording date as much Louis and the fella's.
This is probably one of (if not) the best album of Pops that I have heard and can't recommend it enough.

Best Louis Armstrong Album, even if you don't love Louis
I have lots of L. Armstrong albums, and I love this one the best. I lent it to a 28 year old male, a 59 year old couple, and I'm a 48 year old white woman. Everyone gives it 5 plus stars. Even if you're not a LA fan, you'll like this. ... Read more

Album Description

This magnificent celebration of Nat King Cole is comprisedof 104 tracks over 4 CD's & a 48 page booklet whichincludes the full story, track information & rarephotographs. 2001. ... Read more

Reviews (3)

This is the Real Thing
I really don't know how the Britts get through all the legal red tape of having multiple record lables on one set, but I sure am glad that they're able to get away with it. Please note that this album IS a Brittish Import (not some no name, cheesie bargain bin lable), and that you may have to wait for this album to come in. But that wait pays itself off. Not only do you find out that Cole was a great singer, and piano player, but that he also got into blues and jazz. There are at least 5 record labels involved on this set (Decca (aka MCA), Mark, Excelsior, Capitol, and Mosaic), therefore you get a wider variety than what you would get on the Capitol box set. I'm not saying that this set is better than the Capitol box set, just that it gives more of a complete picture of a great singer & piano player. Incidentally, this set is a lot less than the Capitol set.Get this and Nat King Cole's The Greatest Hits (1 disc), and you have all the essentials.

GET THIS SET. YOU WON'T BE DISAPPOINTED.

One of the best Trio collections out there
I must have at least four different box sets of King Cole Trio material, but I feel this import, which covers a ten year span (1940-50) is arguably the best one to own, other than the huge COMPLETE CAPITOL RECORDINGS OF THE NAT KING COLE TRIO. Songs that aren't on previous collections, such as "In the Cool of the Evening", "Could Ja", "Lament In Chords". "Flo and Joe", "Exactly Like You" and "I Almost Lost My Mind" are featured here, plus the rare R&B rocker "For You, My Love", recorded with fellow Capitol artist Nellie Lutcher, is blazing with pure soul. Of course you have the Trio standbys: "Sweet Lorraine", "Straighten Up and Fly Right", "Route 66", "I'm An Errand Boy For Rhythm", etc., but also included are Nat's early solo hit songs, such as "Nature Boy", "Portrait of Jennie", "Lost April", "Mona Lisa" and "Lush Life". Plus with this excellent collection is a booklet which includes photos, a complete discography with group members, recording dates and places and the story of the Trio, and Nat's eventual rise to solo stardom. As good as it can get, and for a great price, too! Even if you own other box sets like I do, you'll want to have this one as well, and believe me, you won't be disappointed.

Impressive Compilation of the King Cole Trio
This four-CD boxed set collection of delightful tunes by the King Cole Trio surpassed all of my expectations; instead of simply hop-scotching its way through Nat "King" Cole's early days with thirty or so "hits," this set presents five magnificent hours of pure jazz at its best. One hundred and four grand tracks from the Trio, recorded from 1941-1950 (arguably the glory days of jazz), this is probably the best we'll get when it comes to collecting the essentials of a group that were truly the perfectors of the jazz era. No tricks here; just pure jazz in all its glory. ... Read more

Amazon.com

The first of three albums that Frank Sinatra recorded with swing legend Count Basie, Sinatra-Basie is also the best. Sinatra's voice doesn't sound in great shape, but he pushes himself throughout to keep up with the jazzy twists and turns of Basie's band; the resulting tension makes for a thrilling listening experience, especially for those who think of Sinatra as more of a saloon balladeer than a jazz singer. "Learnin' the Blues," "I Only Have Eyes for You" and "(Love Is) the Tender Trap" are the highlights of the set, but all ten of the tracks are winners. --Dan Epstein ... Read more

Reviews (25)

Indispensable Sinatra
If I had to pick my favorite of all of Sinatra's albums, this would be a strong contender. It's the one that hooked me on the swingingest vocalist of all time (Sonny Payne, Basie's legendary drummer, once said Frank was the only singer who could make him swing) at a time when my college roommates were into Beatlemania. From the very first song, "Pennies from Heaven," especially after his melodic alteration of the second chorus, you'll understand why Sinatra was winning all of the Downbeat jazz polls at this time. There's the bel canto, "operatic" Sinatra (try "The Concert Sinatra"); the intimate, torch-singing Sinatra (try "Only the Lonely"; the swinging Sinatra, whose affinities are with the greatest jazz instrumentalists ever. If you want the best representation of this third Sinatra, no album of Frank's (even "Songs for Swinging Lovers") can top this one, the first recorded love affair between Sinatra and Basie. The bit of roughness in the voice here no distraction (as it is on "The Main Event")-- merely an expressive "edge" (like a Coleman Hawkins' sax solo).

The ULTIMATE "swinging" Sinatra!
OK, so various professional and non-professional reviewers note that in this collection, the first of three sessions with the amazing Count Basie and his orchestra, Frank Sinatra's voice is a little gruff. According to one published account, he had been at a ball game the night before and had gotten carried away. Whether true or not, one thing is certain: this is an ESSENTIAL CD for ANYONE who wants to experience Frank Sinatra at his jazziest best. From the very first cut, Pennies from Heaven, the loving combination of the Basie organization and Sinatra produces a synthesis of punchy swing, awesome jazz "takes" on old classics -- that sound as good today as they day they were recorded. I literally had Pennies from Heaven, particularly Sinatra's second chorus, going through my head for DAYS after I heard it. And there isn't a bad cut on the CD. Each piece is a classic in sound, arrangement and phrasing. It was a best seller when it came out in 1963 and for good reason: here's Sinatra as the ultimate jazz singer, doing amazing variations on familiar melodies with one of the most crisp, "swinging" orchestras around. He had said he had waited years to do a recording with Basie and his joy shows. My favorite cuts (hard to choose) are Pennies from Heaven (the best version of this song ever recorded, and one that would win over high schoolers if played in a music class), My Kind of Girl, and Learnin' the Blues (a different arrangement than his earlier one). Oh, and yes: Sinatra's voice may NOT be as smooth as it is on some recordings. But even a "harsher" Sinatra was still better than other singers around -- and is still vintage Sinatra compared to some of his final (somewhat sad) recordings. This all-too-brief 10 piece collection is a MUST to anyone who wants to experience the 20th Century's greatest singer at his brassiest most swinging BEST.

Sinatra's Second Prime
This is a wonderful, wonderful album, but a word of warning: There are two Basie-Sinatra albums out there. Get this one; do not get the second one. Sinatra's prime was with Tommy Dorsey; this one was at the end of his second prime. The second Sinatra-Basie album starts the beginning of Sinatra's nauseating "Vegas" era (e.g., "Strangers in the Night"). In this one, every tune is tightly arranged and totally swingin'. The set-ender, "I Won't Dance", is not only the best of this album, it's one of the best of its kind of all time. Listen to how Basie builds the bridge--it takes my breath away every time. Not a weak selection at all on this one. Very highly recommended.

swings like big ben
Sinatra's best years (even when some of them are mediocre) - first with Capitol and then with his own label Reprise - can be found between 1957 and 1965. The proof is available on this 1963 pairing with Basie. From a career that wandered through it's trash, this one is orchestration and vocalization extraordinaire. This was Frank's swinging period, the black hat and suit worn to the studio to bring class to his crooning of the ironic Please Be Kind, Pennies From Heaven and Love Is the Tender Trap. Unlike earlier and latter recordings, Sinatra is flawless, a matured and whiskey-voice made God-like courtesy of his newfound genuis for the studio. Strip away the Basie-conducted orchestra and Frank would still sound heaven-sent and vice versa. There's no doubt; these recordings captured the perfection of two masters. Frank's voice is as good as it would ever get and Basie makes his orchestra swing so wide it could knock out lamp posts on a four lane highway. Basie was lucky to be included in these mastermind sessions. Frank was even luckier. But luck wasn't a lady: the Sinatra-Basie sessions prove it was a sly fusion of two men with an appreciation for art, style and cool. Nobody did it better.

An historic musical first
The first Frank Sinatra and Count Basie collaboration resulted in a terrific album. Many of the songs here had been recorded by Sinatra before, but they are given new arrangements here. The Basie big band sound works really well with Sinatra's voice. Sinatra's fans should dig this album. ... Read more

Amazon.com

Try to forget the fact that Bing Crosby probably never had to record another song in his life after he immortalized "White Christmas." If you can do that, you'll find plenty more to like in this crooning Christmas collection. There's the Romantic Bing, charming the tinsel right off the tree with "The Christmas Song," and that cure for cabin fever, "Let It Snow! Let It Snow! Let It Snow!" There's the Reverent Bing, solemnly singing "Adeste Fideles." And of course, there's Bing the Showman, belting out "Good King Wenceslas" with a bit of that ole vaudeville shine. But no matter what you're told, "White Christmas" will be the number one reason for sticking this one in your stocking. And who can blame you? It's as timeless now as it was way back when. --Steve Gdula ... Read more

Reviews (21)

The Granddaddy of All Christmas Albums!
This is it! The start of it all. If you're a lover or hater of Christmas albums this is the album to praise/blame for them. Bing Crosby's album originally called "Merry Christmas," now retitled to take advantage of one of the most popular songs of all time, "White Christmas," is what popularized Christmas music as a commercial commodity. As another reviewer stated this is the standard by which all other Christmas music albums are measured.

That being said "White Christmas" features some of Der Bingle's most famous songs- "Mele Kalikimaka" was used in Chevy Chase's movie "Christmas Vacation;" "Jingle Bells," "Santa Claus is Coming to Town," and "Silent Night" can be heard in the movie "A Christmas Story;" and if you have not heard Bing's version of "White Christmas" then chances are you're probably not from planet Earth. This collection contains songs recorded in the 40's and as such reflects that period with backup being provided by the Andrews Sisters and Carol Richards. Also the quality of the recordings is not great, but that is understandable considering their age. However, Bing Crosby was THE voice of Christmas for decades and any Christmas collection without this album would have to be called incomplete.

On a side note: I'm an Irish-American Catholic just like old Bing, but I can't stand "Christmas in Killarney."

Crosby Croons Classic Christmas Carols
Bing Crosby's single of "White Christmas" sold more than 30 million copies worldwide and was the best-selling single in any music category for more than 50 years until 1998 when Elton John's tribute to Princess Diana, "Candle in the Wind," overtook it in a matter of months. However, this does not take into account all those millions of copies of the song that were sold as part of albums such as this 1949 classical collection of Christmas songs from der Bingle. The song was written by Irving Berlin for the Bing Crosby-Fred Astaire film "Holiday Inn," and was first performed by Crosby on his Christmas Day radio show in 1941. Crosby recorded the single in May 1941, "Holiday Inn" came out in August, and on Halloween the song hit #1 and stayed there for 11 weeks. However, the version on this Christmas album was, I believe, recorded in 1947 when Crosby had to return to the studio because the original master had been damaged because of so much use ("White Christmas" made it back into the Top 30 sixteen times, hitting #1 again in both 1945 and 1947).

Of course, there are eleven other songs on this album once you get past the title song, which is, surprisingly, the second track on the album. The other songs cover the entire musical spectrum in terms of Christmas songs. There is "Santa Claus Is Coming to Town" for the kids and "I'll Be Home for Christmas" for the parents. There are religious songs like "Silent Night" and "Adeste Fideles," and secular classics including "Jingle Bells" and "Silver Bells." Crosby even goes ethnic with "Christmas in Killarney" and "Mele Kalikimaka." All of them reflect Crosby's crooning at his best, at a time when his vocal maturity matched his reputation as the premier vocalist of his day. This has been one of the premier Christmas collections for over half-a-century, with good reason.

What is Christmas without Bing?
Bing was an eclectic singer who dabbled extensively in many genres of music: Hawaiian, Irish, cowboy songs and of course, Christmas music, which is showcased here. This is an excellent introduction for those who don't have other Crosby CD's in your collection or who want to hear his "holiday" side. It contains his standard hits which have been recycled time and again on other anthologies. Most Bing-ologists will have all these songs in their collection, some of them many times over. But if you are new to Crosby, this is an acceptable choice and I guarantee that you will become hooked on Bing's magnificent voice. It's quite weak on his earlier work and it does contain some curious omissions, but then again, Bing didn't sing Christmas music much until the early 1940's. Yet there are some stellar songs included as well, like one of personal favorites, "I'll Be Home For Christmas," One of his greatest recordings.

For the novice Crosby-Christmas fan, this set is perfect for several reasons: not only does it give you a fine overview of Bing's career, the sound quality is exceptional. The packaging of the set is excellent and it even includes some nicely written liner notes with a synopsis of Bing's Christmas songs and musical style, as well as an explanation of his tremendous musical impact upon the 20th century.

Other reviewers have complained about the sound quality on this set. I am puzzled at this criticism. I have most of these songs on casette, vinyl and some even on their original 78 and 45 issues. The sound quality here is quite acceptable and good on most tracks. This set will give you many hours of enjoyable listening and help you branch off into other Crosby CD's which includes his lesser-known vocals. Hopefully this collection will convince you that Bing's vocal mastery was unparalled. Then you can sample his earlier, jazz-influenced work during his Columbia years in the early 30's and branch off into his 20's work with the Rhythm Boys. But for the beginning Crosby listener, this is as good a choice as any. I highly recommend this set. Enjoy!

A Truly Wonderful Christmas Album!
I absolutely love listening to Christmas music and I like Bing Crosby and when I listened to someone's Bing Crosby Christmas album which was a 33' vinyl recored I liked it so much I decided I wanted to go and buy it for my collection of Christmas music so I went out and found the CD version of this delightful Christmas album and I love it, all the songs are wonderful but my personal favorites are White Christmas, Christmas in Killarney, and Mele Kalikimaka, I have loved that song ever since hearing it for the first time in National Lampoon's Christmas Vacation starring Chevy Chase. I very greatly recommend this Christmas CD, it very much belongs in a Christmas music collection along with Frank Sinatra, Dean Martin, Perry Como, Andy Williams, etc!

Bingle Bells
This is a retitled version of Bing Crosby's classic album "Merry Christmas". The songs are in a different order than on the original release, for some reason. But whatever order the songs are in, they are all classics. It doesn't get much better around Christmas time than hearing Der Bingle sing "Silent Night", "Adeste Fideles" and "White Christmas". The CD also includes three duets with the legendary Andrews Sisters, and one duet with the forgotten Carole Richards. One thing I have to question is the inclusion of "Faith of Our Fathers". It's a good song, but it's not a Christmas song. Regardless of that, I highly recommend this CD. ... Read more