Harvey Mandel is one of those curiosities in the music world. A man possessed with great talent as a guitarist--who played with John Mayall, The Rolling Stones, The Charlie Musselwhite Blues Band, Canned Heat, Pure Food & Drug Act (his own band), Arthur Lee/Love, plus many solo albums under his own name--and he's still relatively unknown. His name isn't listed in any of the All Music Guide books in any genre for example--hmmm. If you're reading this you're probably familiar with Mandel's albums, so this review is aimed more for those newcomers interested (hopefully) in late '60s/early'70s instrumental (primarily) music from a true unsung master of the guitar. I gave this set 5 "stars"--probably one of those "stars" is for memory's sake for the good times back then when music was changing and morphing so fast--but the best of the music across these albums contains many high points which elevates this collection beyond an "average/okay/it's pretty good" rating. To each his own on how you hear this music in 2015. Music has obviously changed a lot since the late'60s/early '70s.This box set collects Mandel's first five (good sounding) albums (but there's no mention of remastering), plus a sixth (78 minutes with okay/decent sound) previously unreleased album from a (pretty nice) live jam/gig at The Matrix in the '60s, each album in a cardboard jacket that recreates the original album cover. The graphics for the sixth "jam" album fit in nicely with the other album covers. (Arguably) the only album not included from this period is "Shangrenade" (recorded for another label), which is well worth owning if you like what you hear on these albums. Mandel was capable of "stretching the slinkys" on his fretboard with an individual style and seemingly apparent ease that many guitarists wish they could copy. His sound (and ears) incorporated a number of genres (listen to the shimmering harp--"A harp! On a rock album!? That's classical music!" I heard some people say--on "Cristo Redentor") including rock, jazz, funk, blues, and combinations of those styles. But he never went in for long solos or guitar pyrotechnics to prove he was a good guitar player. His playing always fit into whatever tune and arrangement he was playing at the time. So if you're looking for scorching guitar solos--keep on looking--Mandel never seemed to have the need to show off his chops--even the couple of times I heard him on stage as a "guest" player with another band--he just got the job done subtly and beautifully. And in that era of long solo tangents by Bay Area bands his playing was a refreshing change of pace. The six page booklet has an essay on Mandel's career and music with a few quotes from Mandel, plus a complete album/song list of the albums included. The back of the booklet has some period gig posters, but there's no photos except for the cover of the booklet.He's (again arguably) most well known for his first solo album, "Cristo Redentor" (a tune composed by well known jazz artist Duke Pearson--hear his fine work on the Blue Note label), which had several styles of music that blended into a very pleasing whole. I still remember hearing his first solo album in Menlo Park (just north of Palo Alto) when I was a college student just before it was released. I was in one of my favorite record stores and someone put an advance copy on the turntable--whoa! In the present time it's impossible to imagine what music like this sounded like back then--the impact it had on people. On first hearing that wonderfully arranged and beautiful title composition the store actually became quiet as everyone was drawn into that first track, "Cristo Redentor". And then hearing the next track, "Before Six", with it's funky horns and cool guitar from Mandel--wow. This album was something truly unique and beautiful and expanded people's idea of what music could be. Those were the days. One listen to the wordless vocal (courtesy of Jacqueline May Allen (soprano) and Edna Wright, Julia Tillman, and Carolyn Willis) on the title track will tell you all you need to know about Mandel's chops as an all encompassing musician. Musicians who held Mandel in high regard--like Pete Drake (steel guitar), Kenny Buttery (drums), Charlie Musselwhite (harmonica), Barry Goldberg (organ/piano), Armando Peraza, (congas) Carter Collins (congas), Graham Bond (piano), Eddie Hoh (drums) and Steve Miller (organ/piano) and Larry Easter (tenor sax) both from the great Bay Area band Linn County (when will their two albums be reissued?), and Nick De Caro (strings/arranger), and several others--all played on various tracks on this first album. But the album (and all Mandel's subsequent albums here) had other great musicians and goodies that were different and exciting to hear--again, this was at a time when music was pushing it's boundaries similar to just about everything else during the '60s. Mandel continued to release solo albums that his small following (including me) gobbled up eagerly. Why he never became a household name player is a real mystery to me. But with this great box set of most of his finest work, newcomers (or those missing a few of these individual albums) who are hearing Mandel's fine guitar playing and ear for a good arrangement for the first time now have much of his best music in one nice, neat box. Plus the previously unreleased jam from The Matrix including both Elvin Bishop and Jerry Garcia is a different look along with Mandel on stage from an important period (12-24-68) in music. Included is a 37 minute jam with some pretty intense guitar work from all three players reminiscent of the era. If you're into guitar played by a master musician don't miss this collection. He never stole the limelight from other musicians--giving them the spotlight--and his solos were tight and fit into the arrangements seamlessly--no aimless noodling to show how well he could get around the fretboard. Now, if only Mandel's band Pure Food & Drug Act album (with Sugar Cane Harris on violin) would be reissued, along with some of the several live sets that have been recorded from the same era-that would be something.