Track Listing

1. American Anthem - Norah Jones
2. Walton, The Death of Falstaff - Leonard Slotkin & London Philharmonic Orchestra
3. The Wang Wang Blues - Benny Goodman Sextet
4. Movin' Back - Wynton Marsalis (composer & arranger)
5. How Long Blues - Count Basie
6. In the Nick of time - Edgar Meyer, Joshua Bell, Sam Bush & Mike Marshall
7. It's Been a Long, Long Time- Bing Crosby with Les Paul
8. America My Home (Excerpt) - Wynton Marsalis (composer & arranger)
9. If I could Be With You (One Hour Tonight) - Kay Starr, accompanied by the Capitol International Jazzmen
10. Blue As the Turquoise Night of Neyshabur (Excerpt) - Yo-Yo Ma & The Silk Road Ensemble
11. Until I'm In Your Arms Again - Wynton Marsalis
12. Variations For the Healing of Arinushka - Kalle Randalu
13. Basie Boogie - Count Basie & His Orchestra
14. Solitude - Duke Ellington & His Orchestra
15. Concerto for Clarinet, Strings, Harp and Piano (Excerpt) - Benny Goodman, Aaron Copland & Columbia Symphony Orchestra
16. If You Can't Smile and Say Yes - The King Cole Trio
17. American Anthem - Amanda Forsyth & Bill Charlap

Product Details

• Amazon Sales Rank: #29934 in Music
• Brand: Sony
• Released on: 2007-09-11
• Number of discs: 1
• Format: Soundtrack
• Dimensions: .22 pounds

Amazon.com
This stunning soundtrack recording to Ken Burns's epic series features seventeen pieces of music from the film. It includes war-era favorites from Benny Goodman, Duke Ellington, Bing Crosby, and Nat 'King' Cole as well as music from Edgar Meyer, Aaron Copland and Yo-Yo Ma. The soundtrack also features new compositions from Wynton Marsalis, and Norah Jones's breathtaking performance of "American Anthem"- exclusive to this album.

The War Photos Photos courtesy of the National Archives and Library of Congress

More from The War

The War: An Intimate History, 1941-1945	The War: A Ken Burns Film	Sentimental Journey
I'm Beginning to See the Light	Songs Without Words	The War - A Film By Ken Burns and Lynn Novick

Amazon.com
The soundtrack for The War, documentarian Ken Burns's 2007 PBS series on World War II, alternates between earlier, wartime, and postwar material, all designed to complement the narrative. The material was clearly selected to evoke the mood of the era: Benny Goodman's sextet tears off a hot 1942 "Wang Wang Blues," and Count Basie lets fly with "Basie Boogie" (1941) and the prewar "How Long Blues." Also evoking the war years are Bing Crosby's hit "It's Been a Long, Long Time" with the Les Paul Trio, "Solitude" (1934) by Duke Ellington's Orchestra, and Kay Starr's "If I Could Be with You (One Hour Tonight)" and the Nat "King" Cole Trio's "If You Can't Smile and Say Yes" from a wartime V-Disc. Classical numbers include Leonard Slatkin and the London Philharmonic's 1989 version of "London: The Death of Falstaff" and an excerpt of Benny Goodman, in his spare time a respected classical clarinetist, performing "Concerto for Clarinet, Strings, Harp, and Piano" with Aaron Copland and the Columbia Symphony Orchestra in 1950. Newer recordings include Norah Jones's "American Anthem," reprised at the end by Amanda Forsyth and Bill Charlap, "Movin' Back," "Until You're in My Arms Again," and "America My Home" by Wynton Marsalis. --Rich Kienzle

Customer Reviews

Music selected for "The War" truely sings.
One reason for the wide acceptance of the highly praised 15 hour television documentary "The War" can be found in its wonderful soundtrack. Like other productions from Ken Burns and company, "The War" comes with a cross section of music drawn from pop tunes of the period, evocative classical themes and original compositions composed for this spectacular production that not only strongly support the visuals but capture the essence of countless emotional moments. Available as a four CD set or individually, music from "The War" includes a carefully selected overview on three CDs, (the fourth CD - Song Without Words - consists of classical selections,) of American pop music from the early 1930s - Louis Armstrong's "Memories of You" to Benny Goodman's version of "We'll Meet Again" - heart breakingly sung by Peggy Lee to Harry James' Aug. '45 release of "Waiting For The Train To Come In." Personal favorites like "Rose Room" and "Frenesi" appear along with Billie Holiday singing for Teddy Wilson's band, "Pennies From Heaven", Billy Eckstine and Earl Hines with "Skylark" and the quintessintal expression of returning home, Les Brown's "Sentimental Journey" with the great Doris Day. Part of what makes these tunes - orginally recorded mostly during the 1940s -sound so fresh is the loving digital sound restoration and mastering they received . Gene Krupa's "Let Me Off Uptown" with Anita O'Day and Roy Eldrige never sounded more full bodied and fresh as if someone stumbled into a treasure trove of state of the art undisturbed mono masters. What a treat to have these orginal tunes sounding so airy and dynamic. For those who enjoyed the music featured in the Ken Burns and Lynn Novick production "The War" to the just plain curious, this CD collection will help transform facts, figures and events of the cataclysmic disaster known as World War Two into the life affirming feelings and emotions of its outcome. What better way to celebrate the life so many people struggled for than to listen to this music.

Good With The Best Being the Fine Popular Music of the Time
This CD seems to be the lead in sampler of the music to Ken Burns' documentary, The War, his long awaited film on the Second World War. Actually it is just one of four separate CDs available if you don't want to buy the entire soundtrack. One of the CDs is strictly classical music, two popular, and this one relies on a hodgepodge of music, mostly period, some not, mostly popular, some classical, one or two semi-new age, some jazz, etc. Although Burns uses his selections with the same special care and nicety that marked his Civil War songs, there is never the thematic consistency as was the case with the grandaddy of this sort of production, Victory at Sea. A few words on this Homeric original documentary on World War II are in order to give perspective on Burns' efforts. Winner of an Emmy in 1954, Victory at Sea was the brainchild of Henry Salomon, a researcher for historian Samuel Eliot Morison's monumental 15 volume History of United States Naval Operations in World War II. (A great book incidentally.) Salomon was friends with Robert Sarnoff, son of the chairmen of RCA, and they successfully talked up a huge and expensive half-million dollar project, based on Morison's book and using film archives from the warring countries. With the cooperation of the US Navy they ended up with an incredible 60 million feet of film. I'm sure Ken Burns could tell us just how many minutes that runs, but whatever the time involved it's a lot! This series was shown in 26 half-hour programs without commercial interruptions - surprise! - beginning in the Fall of 1952 and finishing up in May of 1953. Burns covers the entire War in almost exactly the same time, one hour more at 14 hours. (Perhaps like many of the G.I.s he documents Burns is superstitous about the number 13?) Victory at Sea boasted a truly amazing music score, the collaboration of musicals giant Richard Rodgers and top orchestrator Robert Russell Bennett. Without going into all the released permutations of that score, suffice it to say it's unlikely we'll see the like again, though the indefatigable Philip Glass may prove me wrong. The music was huge part of the shows success, and to this day I can't hear the music to "Under the Southern Cross" without picturing the quiet wartime Brazilian city of Bahia.
Burns, having already put together a large documentary on Jazz, with an emphasis on the first thirty years, or roughly from World War I through the end of World War II, has no difficulties calling up the right music for the moment. From previews he clearly has mastered the art of applying the most apt music of the time to a scene. When he streches outside the parameters of popular topical music-making his choices are usually for emotional scene setting. Why he chose to omit Samuel Barber's Adagio for Strings, the slow movement from his B minor quartet forever linked with moments of American public rememberance after it's use at Franklin Roosevelt's service, I can't say, though I think it a serious error. Just because it was used in Platoon? That was twenty years ago Ken - an entire generation has grown up. Besides, it's nice to see things in their original context, isn't that what documentaries are supposed to be about?
Overall the music Burns choses is great stuff, and will serve very well as introduction to a new generations' picture of what Tom Brokaw quite correctly labled, "The Greatest Generation." Burns has five CDs, one with all the music, and four sold separately. Of these I recommend the two with the most music of the period, titled "Sentimental Journey" and "I'm Beginning to See the Light". These should offer the best slice of music of the day. The classical selections remind me of BBC productions, and the sort of stuff organists once upon a time played in darkened music halls for silent films. Nothing wrong with that, either, but I prefer my classical music 'au naturel' - and not attached to extraneous medium associations unless specifically linked to a historical moment, as is the case with the Barber Adaigo for Strings.. But you may disagree, and the samples always are there if you're curious.
The Barber Adaigo can be found on several CDs, though I urge the curious to try the late Thomas Shippers' wonderful performance of Barber's music on a single CD including the Adaigo. (Barber's aunt, Louise Homer, a singer at the Metropolitan Opera, helped raise Bonds during the first World War.)

If you're looking for the creepy, unforgettably grim piece...
I bought the soundtrack and another CD from the set looking for that grim piece of music you hear on the first program in the series while the veteran Marine describes the island of Bougainville as a "pile of pestilence." It is so totally devoid of hope and dripping in misery -- it just etched itself in my brain. It had those weird woooo woooo moaning sounds and just sad, sad chords -- the LAST piece I thought it would be was a Wynton Marsalis composition, but I have underestimated him once again. It is an amazing piece and it is on this soundtrack CD. The moaning is evidently a guitar although that's a new guitar sound to me. Several people I have asked could not identify this spooky piece, and were wondering about it. If that is the piece you are looking for, yes, it's here, and it's not the Yo-Yo Ma/Silk Road Ensemble piece. It's Wynton Marsalis!