were ebbing to premature close. It's a story which has been told, twisted and embellished ad nauseum. Die-hard fans are bemused that her later work, with her voice ...
were ebbing to premature close. It's a story which has been told, twisted and embellished ad nauseum. Die-hard fans are bemused that her later work, with her voice ...
All Or Nothing at All
All or Nothing at All concentrates on Sinatra moving from apprenticeship (Harry James,
... more
1939, Tommy Dorsey, 1940-42) to solo stardom (the Columbia years, 1943-1952), although we are spared the nadir of his Columbia fortunes by the set cutting off in 1950. On the way, we are also treated to a whole CD of radio transcriptions (1943-50), thereby giving a convincing demonstration of just why he made such an impact over the airwaves during the 1940s. Sinatra came out of the swing big bands but his early style owed little to the raucous, often hard-swinging music of the period: he excelled on ballads, and from the first tracks (including the title track, with Harry James, from summer 1939) that's what he's given to deliver. Dorsey, with his self-bestowed moniker "the sentimental gentleman of jazz", was hardly going to disturb that pattern, and by the time Sinatra went solo (the famous a cappella recordings of 1943 designed to circumvent a particularly long-winded and vexing recording strike) was making 'em swoon in every aisle (and on every isle). Thus this proper box shows Sinatra in a showbiz light, the core of the material eked from his Columbia treasures of the 1940s, which were more often than not draped in the lush string arrangements of Axel Stordahl. Many believe Sinatra's voice to have been at its peak during his Columbia years, and if you can live with the lushness of the arrangements you will probably end up agreeing. Sinatra's performances are timeless. All this material has relatively recently been made available on CD in a gigantic and lavish Columbia box (made of wood) containing some 12 CDs and a small book, while the RCA material with Dorsey is similarly available complete in a 5-CD box and selections on many individual CD titles. This is a convenient snapshot of a vast amount of material and, while the transfers do not equal those of RCA and Columbia, they're serviceable enough and considerably cheaper. --Keith Shadwick
1939, Tommy Dorsey, 1940-42) to solo stardom (the Columbia years, 1943-1952), although we are spared the nadir of his Columbia fortunes by the set cutting off in 1950. On the way, we are also treated to a whole CD of radio transcriptions (1943-50), thereby giving a convincing demonstration of just why he made such an impact over the airwaves during the 1940s. Sinatra came out of the swing big bands but his early style owed little to the raucous, often hard-swinging music of the period: he excelled on ballads, and from the first tracks (including the title track, with Harry James, from summer 1939) that's what he's given to deliver. Dorsey, with his self-bestowed moniker "the sentimental gentleman of jazz", was hardly going to disturb that pattern, and by the time Sinatra went solo (the famous a cappella recordings of 1943 designed to circumvent a particularly long-winded and vexing recording strike) was making 'em swoon in every aisle (and on every isle). Thus this proper box shows Sinatra in a showbiz light, the core of the material eked from his Columbia treasures of the 1940s, which were more often than not draped in the lush string arrangements of Axel Stordahl. Many believe Sinatra's voice to have been at its peak during his Columbia years, and if you can live with the lushness of the arrangements you will probably end up agreeing. Sinatra's performances are timeless. All this material has relatively recently been made available on CD in a gigantic and lavish Columbia box (made of wood) containing some 12 CDs and a small book, while the RCA material with Dorsey is similarly available complete in a 5-CD box and selections on many individual CD titles. This is a convenient snapshot of a vast amount of material and, while the transfers do not equal those of RCA and Columbia, they're serviceable enough and considerably cheaper. --Keith Shadwick
were ebbing to premature close. It's a story which has been told, twisted and embellished ad nauseum. Die-hard fans are bemused that her later work, with her voice reflecting the accumulated scars of addiction and misuse, should be so highly regarded. They prefer to listen to the prodigious output of her early recording career which started as early as 1935, and which reveals her talent as a vocal musician in all its youthful glory. But as biographer Donald Clarke's accompanying notes suggest, the decline of her voice actually heightened her ability as an interpreter of lyrics and it's this quality which makes these sessions so compulsive to listen to. In fact, they originally comprised two classic albums, Songs for Distingue Lovers and Body and Soul, made for Norman Granz's pioneering Verve label. True, the material is heavily biased towards the torch song, but there are a number of light pop standards ("Moonlight In Vermont" and "April In Paris") which make it absolutely clear that Holiday was never, even at this late stage, a one-dimensional tragedienne. --Piers Ford
were ebbing to premature close. It's a story which has been told, twisted and embellished ad nauseum. Die-hard fans are bemused that her later work, with her voice reflecting the accumulated scars of addiction and misuse, should be so highly regarded. They prefer to listen to the prodigious output of her early recording career which started as early as 1935, and which reveals her talent as a vocal musician in all its youthful glory. But as biographer Donald Clarke's accompanying notes suggest, the decline of her voice actually heightened her ability as an interpreter of lyrics and it's this quality which makes these sessions so compulsive to listen to. In fact, they originally comprised two classic albums, Songs for Distingue Lovers and Body and Soul, made for Norman Granz's pioneering Verve label. True, the material is heavily biased towards the torch song, but there are a number of light pop standards ("Moonlight In Vermont" and "April In Paris") which make it absolutely clear that Holiday was never, even at this late stage, a one-dimensional tragedienne. --Piers Ford
Album Notes: ALL OR NOTHING AT ALL compiles three separate LPs originally released in the late 1950s: ALL OR NOTHING AT ALL (Verve 8329), BODY AND SOUL (Verve 8197) and SONGS FOR DISTINGUE LOVERS (Verve 8257). SONGS FOR DISTINGUE LOVERS is available separately on CD on Verve (815 055).
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