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All or Nothing at All concentrates on Sinatra moving from apprenticeship (Harry James, 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