Music Books

Marjorie Ryerson has orchestrated a symphony of color and meaning on every page of her book Water Music. Her fusion of prose, poetry, music from others with her own photography makes the book a full sensual, nearly audible, experience even though it is in fact a printed piece. For all those who know that water is truly one of the most sacred parts of our existence, this book celebrates that concept and reminds us of how varied and beautiful this life-giving gift is. With proceeds going to a United Nations fund to support clean water for families and to preserve natural water environments, your purchase of this book is not only a pleasure for your own senses, but a courageous effort to protect a resource that too many of us, at our peril, take for granted.

As someone who for many years made my living as a photographer, my first response to Marjorie Ryerson's photographs of water was artistic: the images are stunning; they work to convey the beauty, mystery, and power of water. Since then, watching as other people respond to Water Music on my coffee table, I see the power of the book to raise consciousness of an ever-changing and essential resource that where I live in Florida is fast disappearing. Even in the months since I bought my copy, I have seen news headlines about communities near my home where the water has been declared unfit to drink, as well as new research showing that the state will be running out of potable water some fifteen years sooner than previously predicted-now as early as 2006. In the short time that Water Music has been the centerpiece of my living room, water wars have started between northern and southern parts of the state. So I love this book. With its fantastic photographs and lyrical text, it sits there quietly shouting that water is very, very precious and that we'd all best wake up.

Cama-i (Aleut Greetings)

I am honored to be the 66th musician Marjorie Ryerson included in her incredible group of diverse and talented musicians in Water Music. Our discovery of each other was as magical and poetic as this project and has set the stage for what I believe will be a lifetime friendship. Marjorie's passion for the importance of this project, her love of Mother Earth, and appreciation for the music makers of this planet come together in a way that makes me so very proud to be an American Indian woman, a musician and an appreciative kayaker who LOVES the- Water! "Quyanaa" sister! (Aleut- Thank You) May Creator always bless your journey...

Mary Youngblood- Native American Flutist/singer/songwriter

....on water, music, the reveries of light and wind at play on the surfaces of our hearts and souls. This is a book to keep nearby. Should the room grow too small, the air too dry - push off, navigate whatever stretch most meets your needs and listen.
What life along the banks! What an intimate glimpse of some of our finest musicians and one of America's most unassuming and talented photojournalists! Go now!

The stunning photography that is the heart of this work reminds us of the inspiring Oneness of Earth, Water and Music. That Ms. Ryerson had the vision to recognize Music as the spiritual and artistic extension of this natural unity is a gift to the reader and viewer of this remarkable book. Sixty-six world-renowned musicians, including Kenny Loggins, Randy Newman, Garrick Ohlsson, Dave Brubeck and Taj Mahal, contribute text that draws a direct line between the Muse and the constancy, beauty and timelessness of Water. In his profound essay/poem, jazz pianist Marcus Roberts beautifully captures the framework of the book: "I respect the water. Because it's been here forever-feeding nature, quenching thirst, healing the land, nurturing the flowers. And it will be here long after we are gone, demanding and receiving respect. Singing the sweet song of eternal life..." Ms. Ryerson displays an uncommon organizational and aesthetic genius, not to mention a singular commitment to the cause of sustainable water sources, contributing the royalties for this project to the United Nations Foundation. But it is her photography that is the soul of this work. Witness the misty mirror image landscape on page 151, opposite the story by cellist Tilla Henkins. I rest my case.

BONG! KABLAM! squeak. Tick-Tock. Splash. VROOM! Does this sound like music to you? Maybe your ears aren't wide open like Charlie's were. He was born that way.

Charlie Ives was a famous music composer. His talent came from his father who played a trumpet out the window just to announce Charlie's birth. Charlie experimented with mixing noises to make a different kind of music. When he was a little boy, he played the piano to make the sounds of a huge thunderstorm. After he grew up, he tried to make his music sound like the noises he heard all around him. He thought his music was wonderful but other people despised it and thought it was weird. We listened to it and found it to be inspiring.

Read this book to learn more about a man who didn't let other people change his mind about his music. Recommended for music lovers of all ages who understand that ruckus can be musical and who would be happy with wide open ears like Charlie's.

(sung to the melody of "If I were a rich man...")

Why, I'd be reading him this splendid illustrated children's book!

What on earth is an heirless geezer like me doing, reviewing a children's book? Well, that's a reasonable question. The only sensible answer that I can come up with is that I'm simply somewhere in the middle of my second childhood, "up to my eyeballs in Ives."

Mordicai Gerstein prefaces this enjoyable children's book with the statement "Everything I know about Charles Ives I learned from listening to his music, and from my dear friend, Jan Swafford, whose epic biography, 'Charles Ives: A Life with Music,' was the main source and inspiration for this book." And so it is that Jan Swafford has also been the main source and inspiration for my own second childhood with Charlie Ives. I can actually date my "second childhood" study of the life and music of Charlie to the time I was reading a borrowed copy of his Ives biography while awaiting my own copy.

The narrative text of "What Charlie Heard" (all accurate, and admirably complete, by the way) is quite brief; probably not much more than a few hundred words in total. (While no expert on the matter, I believe that the narrative can be read by a child of 7 or 8. In fact, I provided a copy of this book to a friend's son for his 8th birthday. But I wouldn't consider him "average" by any definition; very precocious would be more like it. Hopefully he didn't find it to be boring.)

Is it possible that a book so brief in its narrative text can actually "tell" the story about Charlie Ives and his life with music, with all of its "ups" and "downs"? Sure it can! All one needs to do is to pay heed to the remarkable illustrations, and to take the time necessary for pulling out all of the clues hidden in these illustrations. And, while it isn't necessarily possible to figure out from the narrative and the illustrations just what Charlie Ives's music sounds like, the youthful reader should certainly come away with the expectation that the music sounds "different," given how it was that pretty much everything in Charlie's life and environment found its way into his music in one form or another. And that may be "half the battle," as they say, toward an early appreciation of America's greatest composer.

I know-rather directly-that Jan Swafford admires Mordicai Gerstein's book on Ives as much as Gerstein admires Swafford's. So I just had to take a look at it. (I never did have an opportunity to see the earlier copy that had been a birthday present; it was a "drop ship.") Now I've got my own copy, I've seen and read it, and I'm impressed. But what next?

Well, given the circumstances, perhaps I'll just read this really neat book to my cat. He's about the right age in "human years": between 7 and 8 as I write this. And he's listened to Charlie's music along with me, without raising a noticeable fuss.

And his name happens to be Charlie. And, no, it's no accident. :-)

Bob Zeidler

I bought this book four years ago for my new-born granddaughter on the strength of the review of my Amazon friend and Ives scholar, the late Bob Zeidler. Through moves and the intervening few years, My daughter and her husband kept the book. On a recent visit, this grandfather was surprised to learn that it had become a favorite. My graddaughter knows the story. "Who is that", I ask, pointing to a picture. "Charlie", she says. "And what's Charlie's wife's name?" "Harmony" she replies.

The great American composer, Charles Ives (1874 -- 1954) filled the air with what author Mordicai Gerstein calls that "mysterious, invisible, magical stuff -- music." I remember from my own childhood books on Mozart, Beethoven, Schubert, and the like. But a children's book on Charles Ives is a welcome rarity. Gerstein makes it succeed.

Ives was the son of a Civil War musician and band leader in Danbury, Connecticut. The precocious child absorbed his father's love for and wayward way with music -- the glorious noise -- as young Charlie used the piano, organ, and trumpet to capture the sounds and ideas that filled his life. Charlie attended Yale, married, and became a successful insurance executive. He kept composing increasingly audacious music, including songs, piano sonatas, violin sonatas,short orchestral pieces,and symphonies. But when his work was played, it was met with bewilderment and mockery. Ives stopped composing in mid-life. In his latter years, he saw his music attain recognition, as he received a Pulitzer Prize in 1947 for his Third Symphony. Gerstein's book recounts Charles Ives's reaction to the premiere of his Second Symphony in 1951, when the composer was 77. Many musicians began to champion other music of Ives, including his difficult "Concord" sonata for piano.

"If only they would open their ears they might open their hearts" Charlie says to Harmony in Gerstein's book. Gerstein captures the bravado and pace of early 20th Century America as well as the spirit of Ives's music, with its combination of American traditionalism and wild iconoclasm. Gerstein makes music a joyful experience. Gerstein captures the influence of revival meetings on young Charlie. "They didn't have beautiful voices, but they made beautiful music", is Gertstein's apt and important for young readers characterization of the influence of the hymn singing Charlie heard.

Gerstein based his book on Jan Swafford's biography of Charles Ives, "Charles Ives: A Life with Music" and on his own listening. A page at the end of the story offers a summary of Ives's work to parents who themselves might be encountering Ives for the first time in reading this book to a child. This book delightfully introduces young children to a great American composer. More importantly, it may help "open their ears and their hearts" to the world of music.

Robin Friedman

This a great book filled with lot's of noise but if you open your ears lide Charlie did you'll hear not only noise but music.
Charlie Ive's is a boy who hears everything as music wether it's the sirens of a firetruck driving by or the drip drop of rain on the ground. Charlie loved music and so did his father his father was a conducter when he would conduct a band Charlie would make noise. charlie grew up and wrote his own music. When charlie would play it some people got mad and said this is not music this is noise. Charlie would say if you open your ears you will hear what I hear.
I'm not going to spoil the rest of the book for you. But maybe if you open your ears you'll hear what Charlie heard, not noise, but music.

I once heard an organist describe Charles Ives "America" in this way--a small town on the Fourth of July, where every band wants to perform in the parade, so they all agree to play the one song they know: 'America.' But they all play it differently. Ives's arrangment depicts the infinite complexity of all the bands' variations. This book not only show where he might have gotten an inspiration for this piece, but for all his other music also.
However, I think the most eloquent illustration is what Charlie heard when he got the news that his father had died. The depiction of total silence is a stark and effective contrast to the cacaphony of the rest of the book. This book can be used to introduce Ives' music to those unfamiliar with it, to explain it to those who don't understand it, or to increase the enjoyment of someone who already appreciates it.

My oldest son got this book from Grandma and Grandpa when he was about 2 and he loved it....to pieces. We read it over and over, singing the song, working the pullouts until the wheels on the bus are gone, the mommies and babies on the bus are gone, the wipers on the bus are gone, virtually every page has major damage and even the binding is falling apart.

Yet oddly, as the book has gotten worse-looking it has lost none of its appeal. It became a game to my son to make up new silly words to the "wheels on the bus" song reflecting the damage..."the wipers on the bus have been ripped out..." and laugh and sing. Now the youngest is getting into the act.

May suffer from the love it gets, but worth every penny. I'm going to get a copy for my nephew and another fresh one for our youngest son to love to pieces...

I know it says 4 and up,but this is my 29m olds fave song so I bought it.

He is too aggressive with the moving areas so I put it up for now-but it is well worth the money! It is very cute and adoreable!

I bought this book at a thrift shop. My daughter loves it, and when I left her a few minutes ago she was moving the baby's arms singing "wah, wah, wah" (the baby on the bus goes wah wah wah...)

She tore out the mother on the bus, so I am keeping the book up high except to read.

It's a great gift book. The pages are sturdy.

We just bought this book last week and my 12-month-old absolutely ADORES it!! She likes pretty much all books, but this is the first one that's made her laugh hysterically & dance along from the very first time we read it. She can't get enough of it, so much so that she keeps demanding we read it to her again, even after 5 or 6 times in a row (after which we hide the book!) It's great because you can play the song & then sing along at the same time, all the while moving the cute characters inside. What a fantastic idea! Don't pass this book up...

This is such a great activity book. My 20-month old got it for Christmas, along with a bunch of toys... yet THIS has been his favorite. He LOVES singing along, doing the motions, and has to have the book with him ALL the time - even a 4.5 hour car trip (made us a little crazy... but we still LOVE that he opts for this book over a toy of some sort.)

Everyone in my family is a Beatles fan. Our 6 y.o. daughter does not know life without the Beatles. We decided to buy her this book, so she could read up on them. This book relates on a child's level the story of the Fab Four from when they were children. I loved it so much that I ordered more copies to donate to my daughter's elementary school library, 1st grade classroom library, and I plan to order another for her 2nd grade library. This should be on every child's reading list.

I thought it was great because you get to learn about john,paul,george and ringo the should make a book about the rolling stones but the beatles book is sad too thers a lot of ups and downs

My son who is in 2nd grade had to write a biography report. He chose to report on The Beatles. This book was perfect! It gave him all the necessary information and it was just right for his age level. We both learned a lot from reading this book.

I bought these to use as a reading book with 4th and 5th graders and they are loving it! I am really enjoying it too....a nice change from the traditional reading book. It is high interest at the right reading level for my kids. I would highly recommend this book for use at school or for finding out more about the Fab Four.

I am in fourth grade and I enjoyed reading this book. I read this book for a book report for school. It tells about all the Beatles lives. I learned about John Lennon, Paul McCartney, George Harrison, and Ringo Starr. When they were twenty-something they were asked to go to Germany, but their parents wouldn't let them. They just went and their dressing room was in the bathroom. I felt sad for them. My favorite part was when they played at Shea stadium. There were 50,000 people! The book doesn't talk all about the Beatles. It talks about the Vietnam War and three famous people who got shot. At the end, there is a timeline of the Beatle's lives and one about the world. You should read this book because it's very interesting.

This is a biography about a blues singer named Honeyboy Edwards who was a contemporary of blues legend the late Robert Johnson. I became interested in his history when I saw a documentary on Robert Johnson's life containing interview footage of Honeyboy Edwards. The lives of musicians in the 20's, 30's and 40's tend to be fascinating and this is no exception. It is a great read.

AS A BLUES HISTORIAN AND GUITAR COLLECTOR I HAVE MANY BLUES RELATED BOOKS IN MY COLLECTION. THIS BOOK HOWEVER MUST RATE AT THE TOP OF THE PILE. WHAT FANTASTIC FLOWING STORY LINES, MAKING IT HARD TO PUT DOWN. IT GIVES A GREAT INSIGHT INTO THE WAY OF LIFE IN THOSE EARLY DAYS OF THE BLUES. THE PLACES HE HAS SEEN AND THE PEOPLE WHO HE GOT TO KNOW & MEET IS JUST MIND BLOWING. ANYONE WHO IS NOT BLUES MINDED SHOULD READ THIS BOOK JUST TO UNDERSTAND HOW HARD IT WAS IN THOSE DAYS JUST TO LIVE AND PUT FOOD ON THE TABLE.(I BET HE THOUGHT EVERONE IN THE MODEN WORLD WAS SOFT)TRULY ENJOYABLE.

Fans of blues music and musicians will relish this autobiography of Delta bluesman Edwards, which charts his rise to fame and his survival in a critical musical world. His first-person observations of the changing blues style and field are especially meaningful given that so many blues titles are not written by participants in the field.

Honey and his astute collaborators have given us the genuine article: a poignant, detailed, uproarous chronicle of what Robert Palmer called the"Deep Blues," the Delta tradition from which all other blues styles emanate. If you've heard Honey sing either in person or on his fine recordings, you will hear the voice you read. He offers dozens of unforgettable moments, from the first sounds he ushers from a broken-necked guitar to his mother's death to the death of Robert Johnson, that are alive and chilling. My only criticism is that the photographs featured in the book are spartan, contemporary views of critical sites in this artist's life. More historical photography would have enhanced the text. The publisher of this well-designed softcover has made the text relaxingly readable. After my first 50 pages, I wanted to purchase all of Honey's recordings and read more about him. He is an articulate, funny, precise chronicler of his own life. If only I could do the same with my own life! First rate.

This autobiography succeeds memorably on several levels. Told in spare, moving words, it provides a vivid picture of life in the Mississippi Delta long before the civil rights movements of the '50s. In addition, it's a kind of African-American "On the Road," told from the perspective of one who crisscrossed the Southern United States, scuffling to make a living playing the blues. And finally, it's a terrific history of the blues, told by a man who made a significant musical contribution himself and who played with nearly all the essential artists of the '30s and on.

Edwards, born in the Delta around 1915, worked the fields as a kid before he learned to play the guitar and began hoboing around the South. He rode the rails, played in innumerable small towns, and polished his craft. Along the way, he hung out and played with the likes of Sunnyland Slim, Big Walter Horton, Little Walter Jacobs, Robert Junior Lockwood, Muddy Waters, B.B. King and yes, Robert Johnson. The book describes how these architects of the modern blues passed songs, licks, and stories back and forth, keeping a form that relies so heavily on tradition dynamic and vital.

A major strength of the book is Edwards' distinctive voice, transcribed by his collaborators to retain its distinctive rhythms and dialect. The book's title sums up his attitude. His memories include violent death, physical and emotional loss, and great material want. Still, you sense strongly that he wouldn't have had his life any other way. His narrative is devoid of self-pity, but it never glosses over the difficulty of the times he endured, which included stints in prison.

The book concludes with useful appendices that define key terms and offer capsule biographies and discographies of musicians Edwards encountered. A good bibliography is also included. Highly recommended for those interested in the blues and in American social history. Great read.

Aaron Frankel, who has directed more than 100 plays, loves the stage, especially musicals. He brings his genius to Writing the Broadway Musical by formulating an organized book, which is easy to use both as a reference and as a guide.

He fills the text with pertinent examples -- plenty of them --like chocolate chips in cookies. Frankel's book is full of encouragement for the dreamers, while it outlines the practical aspects of taking a musical play from a dream to a full-fledged production.

Frankel's concise, clear volume on writing large-scale musicals is a welcome addition to the bookshelf of anyone who wants to understand how this peculiar theatrical genre works-- when it does. By focusing on two artistically successful, well-known pieces in the canon-- "My Fair Lady" as a well-executed classic musical with linear plot, "Company" (my personal favorite) as a well-executed plotless musical whose songs move character forward--, Frankel can support his intelligent teaching points with concrete yet familiar examples. I'm very happy to see this book back in print.

This book gives a good foundation for basic elements of a musical script. I bought this wanting to write a musical script but not necessarily the lyrics/musical score and am a complete novice - was a bit lost on the different musicals it quoted. However another book that is quite "meaty" in terms of how to write a compelling gripping story/script for theatre is "The Writers Journey" surname is Vogler. What Frankel says is that the book or story needs to be written first before appropriate lyrics/musical score can be created. So I would have gone straight to this book first. Good as reference but can borrow from library, not a must have.

In only 192 pages, Frankel presents writing for the musical theatre from the perspective of the book writer, lyricist and composer -- and how each contributes to the whole. Enough specifics for each to gain a better appreciation of the others' unique contributions. The book would be an excellent introductory text for a musical theate workshop. Most examples from My Fair Lady are illustrative and excellent; other examples from Company were less helpful (as that show was less successful). Highly recommended for those working on musical to keep near at hand.

Many of today's top talents in musicals on and off Broadway have studied with Aaron Frankel. Now anyone can learn the ropes from this honored director and instructor in a step-by-step guide that makes for good reading whether you are a writer, composer, or simply an avid theatergoer. I enjoyed the previous edition and found this revised and updated one an even more interesting read.

This book is great on so many levels. I have truly found my passion which is music production and this book is helping me realize that my passion can become my career.

Thanks
Wendell

Wendall Haynes shares a vast amount of information and stratagies for success in TV/Film scoring based on his personal experience within the field . I think the book is very straight forward and enjoyable to read! If you can ever see him speak live don't miss that opportunity because he's extremely inspirational!

This book is a must have for anyone who needs a little help getting started not only in the commercial(music) biz but in the music biz in general.
I got the book and couldn't put it down.
It's a great and easy read and chock full of information.
Thanks Wendell for letting us in on some valuable and much needed info.

Quixotic (Keyahtic)

Everything you need to know about making commercial music is right here!An in-depth approach from a realistic point of view,if you are an aspiring composer,beat maker,serious about getting involved in the commercial industry,this is one book I highly recommend you to purchase!

I first encountered Wendell at The Dynamic Producer Conference in NYC 2 yrs ago and got a lot from his presentation about getting music into commercials and film. He had a wealth of information and experience to match. If you're interested in learning from someone who knows, buy the book.

Although the title is Acting for Singers, actors and directors will benefit as well from Ostwald's excellent analysis of what makes a believable character on stage. The book is full of helpful exercises and explanations of what works on stage. Acting for Singers should be on the bookshelf of every performer.

I came upon this book while preparing for the North American debut of a 1640's Baroque opera in Washington D.C. The information in it is invaluable and succinct. Great for anyone trying to extract meaning from music and convey it to an audience. Well-written and containing excellent advice and exercises, I recommend it.

I have been a professional opera singer and voice professor for many decades. This book REALLY gets to the heart of the acting delima which singers' face. The index is very thorough, allowing the singer to find exactly the topic they are looking for easily. The book should be read cover to cover many times if the singer is new to the field of acting. (I find it helpful for each singer to ponder this question: Am I a singer who acts or, an actor who sings, or both.) An opera singer MUST learn to create operatic characters with which the audience can identify. Each Mannerism and gesture will change with each new operatic role one intends to interpret. This book should be a great help for the preparation of singers who aspire to act realistically and who wish to conquor this extremely demanding and rewarding field called OPERA.

David Ostwald's new book, "Acting for Singers," is an important and helpful guide for singers-in-training, for professionals learning new roles, and for seasoned performers who wish to infuse new dramatic life into their repertory. As a former arts administrator for San Francisco Opera and Affiliate Artists, Inc., I feel that Ostwald's book is equally useful for stage directors, conductors, teachers, and coach/accompanists who strive to make their highly collaborative art form appear as seamless as possible. Ostwald covers a number of pertinent topics including the foundations of believable acting, ways to improve concentration, and how to motivate a character's actions. Having judged many auditions over the years, I found the chapter on "Getting the Part" to be especially helpful to young singers who may not know how to dress for the occasion, speak to the judges, or introduce their selections from the stage. The author's "Ten Maxim's of Believable Singing" provide a concise checklist of wisdom gleaned from his years of teaching and directing. Ostwald's analysis of how directors and teachers can help their singers grow and flourish, including the sage advice of "Always be supportive" and "Never humiliate anyone," presents a pithy list that bosses in any business should read and take to heart. The text is lively, clear and well designed, with headings, bulleted points and enough white space to make the book's insights both accessible and memorable. Each chapter contains helpful exercises, summaries or trouble shooting techniques which will enable singers and their colleagues to create superior performances. "Acting for Singers" will likely become an indispensable, dog-eared companion for any singers who wish to breathe live and artistry into their characters.

Perry-Lynn Moffitt

"Acting for Singers" speaks to the problems that most all of us share in creative situations when we are speaking to a group or preparing an article or script for publication. We do not have to be singers to use the wisdom of Ostwald's mind and experience. These challenges are inevitably concentration, trust, projection, communication, and the self-doubt that most of us sometimes experience.

If you could see David Ostwald in action, you would recognize how his life is a demonstration of his work. When the groups at my seminars would get excited and several voices were talking at once in an exercise, David (upon my request) would clearly enunciate one or two words to the whole group in a tone that instantly shifted everyone's attention to the work at hand. The whole group loved David's wit and wisdom, his power to achieve the intended focus and hold it, plus his demonstration of an open mind, the will to learn and to share knowledge gained through years of a focused mind and experience.

David's whole life is filled with the qualities of concentration, trust, projection, and communication. This is the real power of his written words. I think this book will prove so useful that it will become an essential textbook for teaching acting to singers.

This book is incredibly entertaining. I'm 25 years old, and need constant excitement to keep my attention. While reading this book I was amazed by the by the numerous experiences Buzz Cason has encountered throughout his life. Any individual one of these expeiences could be a highlight in the "average person's" life, and Buzz has had a countless number of them. You can't help but wonder in amazement how one person had the opportunity to do so many exciting things in a lifetime. No matter your age, this book is incredible!

Heroes are found everywhere in the story of a Nashville kid who made good in the brutal business of music, beginning in the late 50s and still going strong in 2004. Autobiographical in its first person telling, this story regails to us tales of "the early days"...before belly piercing and techno grooves, when some of the biggest names in rock and pop music were fledgling acts, just kids. I found myself asking how one person accomplished all these things and met all these people while turning pages as quickly as my eyes could pass the story on to my eager brain. The creativity of Buzz Cason shines brightly from the pages of this delightful story, pictures being proof of the pudding of the rememberances most of us could only imagine in some fantasy life. The photos alone are worth the cost of the book. Every book shelf should sport a copy of this delightful look back down the road over the long, fun trip it's obviously been for the author. I'm getting it for practically everyone on my Christmas list!

This book, written in the first person, actually invites one into the very thoughts that Mr.Cason has as his memory interacts with some of the most well known and famous entertainers in the entire music industry.
The book is just the "right" length of read - not too long - and full of insight and humor! It includes many photographs too!
I would love to go to one of Mr.Cason's book signing's - I know that this first edition will increase in value over time.

Living The Rock 'n Roll Dream: The Adventures Of Buzz Cason is the autobiography of musician and award-winning hit songwriter Buzz Cason, founder of the Casuals, the first rock band in Nashville. A dazzling true story about the popular music trade Cason embraced for fifty years, shedding light on his career and offering an inside peek at the early days of rock 'n roll. A treasure for rock 'n roll fans looking to experience a primary account of the origins of their wildly popular music, and especially for those who have thrilled to Cason's outstanding talent.

Over the years, I've read dozens of music industry books. This book has to go to the top of the list for history and entertainment, that covers a time like no other on the planet.

My five stars are for the performance and the book. All opera recordings should come in this format. But the cd copies are bad and will be short-lived, they easily loose their coating.

I bought this as my first piece from the Black Dog Library in preparation for seeing the Vancouver BC Operas production in 2002. Black Dog Library is a must for everyone going to see an opera. Get this, listen to it, fall in love with the music and then see this opera live if you ever get the chance. This is opera at its best. After seeing the production live, I can't wait to see it again. And by listening to the cd's I can bring it right back to my mind and my heart.

Bravo Giuseppe, Bravo......

Wow!! Wow!! O my God! I just heard this album and my jaw dropped. Why it so many critic snub this recording ? It's the best Aida on record. I think it has to do with the fact it's very rare and more of a collector's piece as well overshadowed by more popular editions- i.e. Placido Domingo/Leontine Price, Jon Vickers..Pavoratti..Montserrat Caballe etc. But the cast in this album can not be more perfect. Birgit Nilsson was a grand lady of the opera- with a voice that cut through great orchestras, with dramatic integrity in her stage performances (she was as much as an actress as she was a singer and in this way she was like Maria Callas). It is true that she is far more recognized for her Wagner heroines- she is the best Isolde and Brunhilde, but her Wagnerian voice, so high, so powerful, is perfect for such diva roles as Aida. Verdi wrote the role for soprano di forzas which Birgit Nillson delivers with electrifying prowess. She was trained in Italian as well, which people seem to forget. Her Italian voice is rich, powerful, with a high top and generous bottom. She gets into characters with passionate intensity as well. Has anyone ever heard Turandot ? It's the best! So intense and powerful. And her Tosca is breathtaking. She also sang in Mozart's Don Giovanni starred opposite Leontine Price and the famous bass Cesare Siepi in that one. She can do the Italian roles as good as the rest of them!! There is also her powerful interpretation of Turandot and Tosca. So there you have it. Her Italian was as dynamic as her German. Franco Corelli is an awesome Radames, with hot-blooded, masculine energy and lyrical moments of love and grief. He can be a tough guy and a sensitive lover. "Celeste Aida" is superbly done, even if not sung as written. His Tomb Scene at the end is incredible. Grace Bumbry is the best Amneris, and she sang the role numerous times which made her an expert on it. She has a dignity of her own in the role and she is not as scary or bitchy as Rita Gorr's interpretation. Bumbry's perfect. You can also hear her as Amneris in the Leontine Price/Placido Domingo version conducted by Erich Leinsdorf. This is truly a great recording and will have you wanting to get other recordings of its amazing lead singers. Certainly Franco Corelli is a magnet of opera lovers with his excellent artistry. He sang with Birgit Nilsson in the greatest operas of their careers- Puccini's Turandot and Tosca which are also available at Amazon.com and I strongly urge you seek them out. Their Aida is mind-blowing.

The sound to this recording been digitally remastered from the old LP and sound fresh, powerful and moving. The Black Dog Opera Library series offers the best in opera to a beginner who takes interest in the world of opera or to fans who are already converted. It does more for the novice, however. My first of these "cd-books" was Verdi's La Traviata starring Beverly Sills and Nicolai Gedda. This was indeed a perfect performance. This was followed by Bizet's Carmen starring Jon Vickers and Grace Bumbry..another winner! Then came Mozart's Magic Flute starring Peter Schreir, Anneliese Rothenberger, Kurt Moll, Walter Berry and Edda Moser. This is the best Magic Flute out there. Indeed, all the recordings on this series are of the highest calibre. This book comes with the libretto, pictures of Aidas in the past, and bios on Corelli, Nilsson and Bumbry. Go out and get it today!!!

The historical account and the story help the person new to opera appreciate the opera. The sound is of high quality. I only wish Amazon carried the full series of The Black Dog Opera Library.

Brilliant voices of Birgit Nilsson, Franco Corelli with Orchestra e Coro Del Teatro dell' Opera di Roma under Zubin Mehta. A marvelous studio recording without audience noises. A number of stage photos of major performances and introduction of Verdi and the writing of AIDA. Two CD's with the complete opera with complete libretto in Italian and English. A great value. A must-have.