I have a problem. Ken Burns' newest documentary, The War, which provides a comprehensive look at World War II and is now showing on PBS, has also generated a four CD boxed set of music. The problem is that it's so freakin' good that I'm afraid I'm in danger of overselling it, but at the same time I can't help myself — it's that remarkable.
Although Burns gets a lot of admiration for his documentaries - and deservedly so - I think that he's sometimes shortchanged by the lesser amount of recognition given to his ability to choose unforgettable music to accompany those films. With the obvious exception of his documentary on jazz, you seldom hear a lot about that aspect of his work. I'd like to do my
humble best to correct that, or at least begin the process.
I was born a little too late to experience the music of the era when it was originally performed, but I did grow up with it around me and have collected and enjoyed it for many years. That being said, you can believe me when I tell you that Burns was relentless and dedicated in his efforts to provide a broad spectrum of music appropriate to this film, and he has been amazingly successful.
But even more startling is how he's gone beyond the sounds from that period and added in a little modern music - including new stuff from Norah Jones and Wynton Marsalis - that still manages to evoke that historical time. It's quite an accomplishment and one that I hope will help draw younger music lovers to this collection, where they just might find that the original music of the era is something special too.
The boxed set consists of four CDs, including the nominal soundtrack album (which is available separately), accompanied by a disc of jukebox hits of the era, another of hit dance tunes, and finally one with mostly classical music that reflects the often somber mood of the film.
Disc one, the main soundtrack album, includes Norah Jones singing "American Anthem," a previously unreleased performance that shows off her distinctive talents, and the same song also closes the album in a complementary instrumental take. This disc also showcases the talents of current jazz icon Wynton Marsalis, who took a major role in both composing and performing for the project, and his contributions are heard on several pieces.
The same disc also includes some tracks from the era, such as big band tunes from Count Basie, Benny Goodman, and Duke Ellington, and nice vocals from Bing Crosby, Nat King Cole and others, but the real treasure trove of period music is found on discs two and three.
Article comments
1 - Ann Lesley
The music is too loud. It may be the best sound track ever, but the high volume detracts and you can't always hear what the speakers are saying.
2 - Emil Subirana
The music is too loud especially the grotesque clarinet during the concentration camp scenes. It is also very uneven and poorly matched to the visuals with the exception of the contemporary big band dance material from the 40s and the recurring Elgar. The loud scratchy cello is very annoying and out of character. It is a shame that this otherwise fascinating work is spoiled by the frequent lack of a fitting soundtrack.
Emil Subirana
Montreal
3 - Big Geez
Appreciate hearing your viewpoints. Of course, my review was of the soundtrack album itself rather than how the music is used in the TV film, but there's no reason why a discussion of that aspect can't be included here.
My opinion of how the music is used in the film would be a little less harsh than yours though. I've generally been OK with the choices made...but I've not yet watched all the episodes.
4 - ggibby
I agree with Subirana- several times while watching I turned off the sound, thinking a cat was yowling outside the house, and realized it was the soundtrack. And it keeps coming back. Really distracting.
-G