Reviews of new box-set releases: Pearl Jam's "Ten"; Ella Fitzgerald's "Twelve Nights in Hollywood"; Keith Jarrett's "Testament: Paris/London"; AC/DC's "Backtracks"; Michael Jackson's "Hello World: The Motown Solo Collection"; and "Def Jam 25."

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Sure, you can quickly and cheaply download all the music you want, song by song. But there’s still something kinda cool about owning a box set, with all the extra gear and gizmos. Here are a few of this season’s new releases.

Pearl Jam, “Ten” (Super Deluxe Edition Box-set) (Epic): On Aug. 27, 1991, Seattle’s grunge scene would begin a trek to its zenith. Pearl Jam released the album “Ten” and seemingly every American male between 13 and 30 had a new favorite band.

And why not? Side A, with the unforgettable songs “Black” and “Jeremy,” is arguably the strongest front half of an American rock album — ever.

Now to fete that standout album come not one but four different box-set editions of “Ten.” The Super Deluxe Edition includes a CD of the original album, digitally remastered; a second remastered CD, with six bonus tracks; four vinyl LPs, including a live concert recording made at Magnuson Park in Seattle; and even a cassette featuring demo versions of “Alive” and “Once” from “Ten.”

The vinyl is the real cream of the crop here. It’s 180-gram audiophile weight vinyl and gives a nice analog feel to the seminal album, with its pounding assault of Eddie Vedder’s voice and Dave Krusen’s aggressive yet fluid drum work.

The set includes a composition notebook with replicated personal notes and images from Eddie Vedder and bassist Jeff Ament.

Ella Fitzgerald, “Twelve Nights in Hollywood” (Verve): This 4-CD collection is a real gem unearthed from Verve’s vaults — 73 previously unreleased live small-group recordings from the “First Lady of Song.” In some cases these are the first and/or only live versions of the songs she ever recorded. This is Ella at the creative peak of her career.

Verve founder Norman Granz personally supervised the live recordings over 12 nights in 1961 and 1962 of every set Fitzgerald performed with her quartet in the intimate setting of Los Angeles’ Crescendo Club.

This collection finds Ella ranging through her entire repertoire from the familiar to the obscure, including new versions of her earliest hits (“A-Tisket, A-Tasket”) and those of her peers Billie Holiday (“Good Morning Heartache”) and Frank Sinatra (“The Lady is A Tramp”).

And there’s the spontaneity and humor ever present in Ella’s live performances — whether she’s messing up the lyrics to “Blue Moon” without skipping a beat or affectionately imitating Louis Armstrong and Dinah Washington on “Bill Bailey.”

Keith Jarrett, “Testament: Paris/London” (ECM): It’s been more than 35 years since Keith Jarrett created his own distinctive genre with his spontaneously composed solo piano concerts, melding the finesse and command of a classically trained virtuoso with the improvisational imagination of a top-flight jazz musician. After being sidelined by Chronic Fatigue Syndrome a decade ago, Jarrett has revised his approach to his solo concerts. On the 3-CD “Testament,” presenting two late 2008 concerts in Paris and London, he’s curbed the youthful exuberance that found expression in epic 40-minute-plus journeys on albums such as the multiplatinum 1975 “Koln Concert” in favor of loosely connected shorter improvised segments with more emphasis on melody and restraint in playing.

In his unusually personal liner notes, the usually private pianist reveals that these two concerts were hastily arranged at a time he needed to plunge into work because of the emotional turmoil surrounding the breakup of his marriage of 30 years.

“Testament” is a testament to the healing power of music to see us through troubled times.

AC/DC “Backtracks” (Sony): The essence of a box set is great packaging, lots of swag and hard-to-find content. All that is here on the latest AC/DC box set. The high-end version comes in a box made to look like a road-worn amplifier, complete with AC/DC logo. But look — the top comes off to reveal one of the treasures inside actually is a working amplifier that you can plug a guitar into and jam along!

The three CDs lean heavily on B-sides and live tracks that were released piecemeal as part of something else, and not a whole lot can be considered truly rare.

The set comes with a 164-page coffee table book laden with previously unpublished photos from 1974 to the present, a vinyl record duplicating the first CD of “rarities” and a poster from their 1977 European tour.

Michael Jackson, “Hello World: The Motown Solo Collection” (Motown): The three-CD box set “Hello World: The Motown Solo Collection” shows Michael Jackson as a boy launching into the pop stratosphere.

The superb collection features every Jackson solo recording released from 1971 to 1975 — albums “Got To Be There,” “Ben,” “Music & Me” and “Forever, Michael.” Also included are songs released from the Jackson vault after he became the King of Pop, the 1984 album “Farewell My Summer Love” and 1986’s “Looking Back to Yesterday,” featuring previously unreleased masters.

Bonus tracks, colorful photos, album covers, original liner notes and essays by Motown’s Suzee Ikeda and author and professor Mark Anthony Neal complete the box set.

“Hello World” showcases Jackson’s glorious voice, an instrument so nuanced that he sounds much older and wiser than his young years. A spoken word intro leads into Jackson’s soulful cover of the Bill Withers classic “Ain’t No Sunshine”: Jackson lets his boyish falsetto soar over backing strings, in complete control over the vocal dips and swoops.

Other tunes span from harpsichord-tinged ballads to funky gems such as “Rockin’ Robin,” a sure-fire hip shaker. His voice lowers in register on “Forever, Michael,” taking on the more mature tone to define his later albums and hits.

Just to hear a sweet-voiced Jackson take on Edwin Starr’s soul stomper “Twenty-Five Miles,” wailing over distorted guitar, makes this collection truly worth it.

“Def Jam 25” (Def Jam): There is no Jay-Z without the Def Jam label. No Public Enemy. No Kanye West, Beastie Boys, Rihanna or LL Cool J. Sure, these game-changing talents would have been heard regardless. But Def Jam had the savvy and sheer willpower to make them superstars.

That’s why this five-disc history of Def Jam’s 25-year history is an essential ingredient for any serious rap-music collection. Even if you have all the songs in album or single form, or buried among thousands of MP3s in your computer, the box set’s track sequence puts them in context, connecting the dots as rap moves from fringe to revolution to mountaintop.

The Def Jam story starts when party promoter/artist manager Russell Simmons met punk rocker/rap producer Rick Rubin, who was making records out of his New York University dorm room. Their first hit — and the box set’s first song — was LL Cool J’s “I Need A Beat.”