NEW SETS. NEW MSCOVERES.

The Complete Deen Benedetti Recordings of Charlie Parker

^ |F
The Complete Recordings of T-Bone Walker 1940-1954
The Complete Blue Note Recordings of George Lewis
The Complete Recordings of the Stan Getz Quintet with Jimmy Raney
RECORDS
The Complete Blue Note Recordings of Grant Green with Sonny Clark
NEW RELEASES.AVAILABLE ON YOUR CHOICE OF LP OR CD.

SPRING/SUMMER 1990 BROCHURE NUMBER vSj

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AND HIS
DAVIS
"trumpet

LOST... AND FOUND! Unless you took the advice of Pincus,

unofficial "mayor of 52nd Street," and entered the smoky
aX roach DRUMS
Three Deuces Club, you've never heard the music on

KE JOPnAM
Mosaic's new set, The Complete Dean Benedetti Recordings
of Charlie Parker. These are live-on-location recordings, long-
rumored to exist, from the very moments Parker was inventing
the future. Finally discovered, finally catalogued and
annotated, finally available. Finally you can hear them.
Photograph (from 1948) by Willam P. Gottlieb.

ftMMY POTTER

Grant Green,
we hardly knew you.
trum, from
Grant Green blues
could withthe
play a backbeat to the
whole spec
modern experiments of Larry Young. He signed
with Blue Note in 1960, and the albums began
to flow.
Blue Note recorded Green in a variety of
funky settings. But for pure, hard bop, nothing
matched Green's four '61 and '62 sessions with
Sonny Clark. Clark had played with the likes
of Buddy DeFranco, John Coltrane, Dinah
Washington, and was one of Blue Note's house
pianists. For the Grant Green sessions, he put
together a trio, with himself on piano, Sam
Jones on bass, and Louis Hayes (or, in one case,
Art Blakey) on drums. On one occasion, Ike
Quebec was added to the group. The music was
at all times magnificent, consisting mainly of
classic jazz compositions and standards, with a
few originals thrown in.
Unfortunately for the world of jazz, these
sessions weren't in keeping with the soulful
image that Blue Note had in mind for Grant
Green. So, for nearly 20 years, they remained
unissued in Blue Note's vaults.
It wasn't until the late '70s that news of these
sessions... and a reaffirmation of Grant Green's
brilliance... came out. Two Grant Green/Sonny
Clark albums were released in Japan, followed
a few years later by two others in the U.S.
Now, for the first time, these rare perform
ances of Grant Green at his purest and best,
featuring Sonny Clark shortly before his death
of a heart attack at age 32, are being made
available in their entirety. Most of this music is
either out of print or never-before-released. In
addition to everything significant recorded at
the four sessions, including several worthwhile
alternate takes, there are two later perform
ances featuring Sonny Clark, Ike Quebec, and
a Latin rhythm section.
The 12-page booklet includes an essay by
Bob Blumenthal and many unpublished session
photographs by Francis Wolff.
What Charlie Parker was
to jazz, T-Bone Walker
was to the blues.
Charliestrument;
Parker hewas
wasborn to steeped
deeply play hisin in
the
tradition; and his innovations changed forever
the music that followed. The same can be said
for T-Bone Walker and his passionthe blues.
If anyone were born to sing and play the blues,
it was he.
T-Bone's mother was an amateur blues singer
in Dallas, and their home was a well-known
stopping-off point for bluesmen in town or
just passing through. One of young T-Bone's
earliest chores was to accompany Blind Lemon
Jefferson on the street corners of downtown
Dallas, passing the hat while Lemon performed.
When T-Bone was 10 years old, he con
vinced his mother to buy him a guitar. It didn't
take long before he was playing like an old
master. As a young teenager, T-Bone was
accepted by a professionally-managed high
school band. But when they didn't allow him
to solo, he set out for greener pastures, only to
be replaced in the band by his friend Charlie
Christian.
"I Got a Break, Baby" for Capitol. In 1945, he
began recording in Chicago, releasing 10 sides
on the Rhumboogie and Swingmaster labels.
By 1946, T-Bone was in his prime, record
ing 48 jazz-tinged electric blues classics for the
Los Angeles-bascd Black & White label. These
sides gained T-Bone national exposure and
taught a whole generation of blues guitarists
how it should be done.
In 1950, T-Bone signed with Imperial Rec
ords, where he recorded 56 titles over the next
four years. By the time that T-Bone moved on
to Atlantic in '55, there were bluesmen, R&B
players, and eventually rock & rollers imitating
his style from coast to coast.
"I believe it all comes originally from T-Bone
Walker. And B. B. King thinks so, too."
Freddie King
Today, T-Bone Walker is acknowledged by
all to be the true father of the electric blues. But
while some of the songs he wrote continue to
live on in the repertoires of thousands of artists
("Stormy Monday," "I'll Always Be in Love
with You"), the vast majority of T-Bone's
original, history-making recordings have, until
now, been incredibly difficult to come by.
This Mosaic set includes all 144 tracks re
corded by T-Bone Walker as a leader during his
most influential years.
Our informative 16-page booklet is written
by Helen Oakley Dance, author of the defini
tive biography, Stormy Monday: The T-Bone
Walker Story. A complete discography of ev
erything in this set and rare photographs round
out this ambitious project.

Electrifying the blues.

The Complete Blue Note Recordings
of Grant Green with Sonny Clark
Limited to 7500 copies worldwide.
5 LPs [MR5-133] $45
4 CDs [MD4-133] $60
T-Bone moved around a lot in the '30s,
singing and playing with various swing bands,
and mingling with the leading jazz players of
the time. In that early big-band era, a guitarist's
lot was not an enviable one. It was virtually
impossible for an acoustic guitar to cut through
and be heard above any band worth its salt.
In the early '30s, various guitarists began
experimenting with amplification techniques.
T-Bone Walker got the bug early, and worked
diligently to perfect an electrified guitar, as well
as a sound and a playing style to go with it.
T-Bone Walker may or may not have been
the first bluesman ever to rig up an electric The Complete Recordings of
guitar. But there's little doubt that he was the T-Bone Walker 1940-1954
first to figure out what to do with it.
Limited to 7500 copies worldwide.
9 LPs [MR9-130] $81
Moving into high gear. 6 CDs [MD6-130] $90
In 1942, with the Freddie Slack Band, he
recorded the seminal "Mean Old World" b/w

OR FAX: 203/323-3526 10AM-5PM(ET) VISA & MASTERCARD O N L Y, PLEASE

A passion for the music.
Lion went after the pure, unadulterated
thing whenever he recorded. He had a passion
for the music and recorded the music he liked.
This, together with his penchant for quality,
make the Blue Note catalogue the awe-inspir
ing historical record it is.
Three very early sessions demonstrate Lion's
ability to elicit great performances by putting
the best players in compelling new environ
ments. We've compiled them on a new Mosaic
LP, The Pete Johnson! Earl Hines/Teddy Bunn
Blue Note Sessions.
Tracking down the greats.
Lion tracked down Earl Hines in July 1939
and convinced him to record two intimate
piano solos for a 12-inch 78. These are dazzling
cuts from the heart of improvisation, quite
unlike most of Hines' discography.
In December, he enticed boogie woogie
master Pete Johnson into the studio for two
piano solos and four stompin' sides with bass
and guitar. This is blues and boogie at its finest.
Solo jazz guitar? Okay by Alfred Lion, who
recorded Teddy Bunn playing unaccompanied
in March 1940. The results are exceptional.
With this Mosaic release, we've reached a
milestone: the completion of our exhaustive
program of restoring and issuing all but two of
the great traditional jazz and boogie woogie
Blue Note sessions of the 78 era. Includes an
insightful essay by Stanley Dance.
"Romping, stomping boogie woogie from
pianist Johnson."
Bob Claypool, The Houston Post
"A valuable disc for the historical documenta
tion of the solo Johnson and the oft overlooked
Bunn."
Alan Bargebuhr, Cadence
His tone could fill the Polo
Groundsone of the giants
of jazz, Sidney Bechet.
|^W ew Orleans, teaming with culture from
-1- many nations, gave birth to Bechet and
his sound. It also filled him with the urge to
travel. He stomped 'round the world while still
in his twenties. Russia. Egypt. He played for
the king of England, banged around in bistros,
ran a Harlem speakeasy, did time in Paris...
He was all over the globe, making every
musical note count.
An astonishing improviser.
Bechet had an astonishing ability to im
provise. The Complete Blue Note Recordings
of Sidney Bechet is a reminder of his substantial
gift.
OR FAX: 203/323-3 5 26
He had a powerful tone, thick vibrato, and
unflagging energy. He was the first true master
of the soprano saxophone.
New transfers add clarity.
Bechet appeared from 1939 to 1953 on 13
sessions for Blue Note, 10 as leader, yielding
these 74 selections. Mosaic presents them on
six LPs, many tracks taken from new disc
transfers to give added clarity. Including 13
unissued tracks and four titles previously
available only on 10-inch LPs or 78s.
A 16-page booklet includes a bio by John
Chilton, musical analysis by Max Harrison, a
full discography, rare photographs, and Blue
Note cover art from the '40s.
(In order to be complete in each case, this
collection includes three selections from the
Port of Harlem LP and seven selections from
the Art Hodes set.)
#3 (tied) Reissue of the Year
(1986 down beat International Critics Poll)
"One of the invaluable series of collections on
Mosaic Records."
John S. Wilson, The New York Times
".. .a monument, demonstrating Bechet's con
sistency and drive in any setting."
Eric Levin, People
The Complete Blue Note Recordings
of Sidney Bechet
Limited to 7500 copies worldwide.
6 LPs [MR6-110] $54
Not available on CD.
Every time I play one of your
records, I want to say thanks...
I (I \ 11 - i l M I | i; I ) VISA &
One of the earliest
"super sessions" created
Blue Note's first hit.
Boogie Alfred
woogieLion, whowas
piano gave
theupfirst
import/ex
love of
port in 1939 to record Albert Ammons and
Meade Lux Lewis.
The third session on his fledgling label was
an experimental unit which united trumpeter
Frankie Newton, J. C. Higginbotham on
trombone, guitarist Teddy Bunn, bassist Johnny
THE COMPLETE RECORDIN
THE PORT OF HARLEM JAZZME
The Complete Recordings of the Port
of Harlem Jazzmen.
Limited to 5000 copies worldwide.
1 LP [MR1-108] $9
Not available on CD.
Williams, drummer Sid Catlett, and pianist
Albert Ammons.
All their classic 78s, all together.
The Complete Recordings of the Port of
Harlem Jazzmen includes all their 78s, cut on
two separate days (the second one with Lewis
instead of Ammons, and Sidney Bechet on
clarinet and soprano saxophone).
We get to appreciate the wailing melancholy
of Bechet, the buzzing, colorful statements by
Newton, Bunn's drama, Higginbotham's con
fidence, with Ammons and Lewis tying it all
together.
A real treat: "Summertime," with Bechet on
soprano, the record that racked up the coins in
jukeboxes as Blue Note's first hit.
#3 (tied) Reissue of the Year
(1985 down beat International Critics Poll)
17
MASTERCARD O N L Y, PLEASE
M O S A 1
Mosaic stands by its plan.
We started Mosaic with an ambitious agenda
of standards and goals that, to this day, is still
the guiding force behind everything we do.
Important artists. Not lust the biggest.
The artists we choose are selected for their
place in the history of jazz, or in the case of T-
Bone Walker, blues. Music, above all, is what
determines if an artist belongs on Mosaic.
You won't necessarily find us going for the
big, commercial names. But, neither will you
find us discriminating against them. Here, for
the first time anywhere, Brooks and Nichols
are cherished on equal terms with Monk and
Mingus...as well as Mulligan and Getz.
Everything you expect. And more.
Choosing the artist is only half the battle.
The other half is deciding upon a historically
viable concept. We want Mosaic sets to be as
important, and as complete as we can make
them. Our sets include every significant track
that falls within the scope of a given project,
presented in an organized, chronological
manner usually for the first time ever. We go
into the vaults of as many record labels as
necessary to examine all their original session
tapes. In addition to previously issued mate
rial, Mosaic sets are usually rich with unre-
leased tracks and valid alternate takes. It's no
accident we're considered the label for fans and
collectors "who want it all."
Information, photos, and more information.
To put everything into its proper and fasci
nating perspective, Mosaic commissions lead
ing authorities to write our booklets and sup
ply collectors with all pertinent dates, person
nel listings, and discographical information.
Interviews and session photographs are in
cluded whenever possible. Enlightening musi
cal overviews are a matter of course.
The best we know how to make.
When it comes to our physical product we
take a unique "cost is no object" approach.
We're convinced that our pressing plant, our
printer and even our box fabricator are the best
in the country.
Limited Editions make important music into
important recordings.
Mosaic sets are limited to no more than
7,500 worldwide. (Occasionally even less.)
Once they are all sold we will never make them
available again...adding immeasurably to the
future value and historical significance of the
Mosaic sets you buy.
And speaking of value, that's a basic tenet of
ours. Despite our virtual monopoly on the
type of projects we deal in, Mosaic prices are
competitive with common records and CDs.
Record sets are priced at $9.00 per LP. CD sets
are priced at $15.00 per CD. The booklet, the
box and the service comes to you at no addi
tional charge.
R F A X : 2 0 3 / 3 2 3 - 3 5 2 6 1 O A M - 5 P M ( E T ) V I S A & M A S T E R C A R D O N LY, P L E A S E .
P R ON I S E S
We make ordering easy. And we guarantee
satisfaction.
You can use the order form in this brochure
to order Mosaic sets. Or simply call during
working hours and tell us what you want.
You'll be speaking to a member of the Mosaic
family... not a 1 -800 order taker. You may pay
with VISA or MasterCard, check or money
CRITIC
".. .most of the jazz world agrees that this type
of quality recording, pressing, and packaging
represents the way jazz should be documented.
These dedicated jazz producers deserve our
acclaim and support even if we have to miss a
few meals to own the products."
Jerry Atkins, IAJRC Journal
"For the serious jazz listener on your list I
have two words: Mosaic Records. Headed by
jazz fanatics and historiansMichael Cus-
cuna and Charlie Lourie, the company re
leases sets of an artist's complete work in
limited, numbered editionsusually 5,000
on audiophile quality vinyl. My favorite Mo
saic, so far, is The Complete Candid Record
ings of Charles Mingus. These are the sides
that first introduced me to Mingus in the early
'60s, and they include some hair-raising music
from Mingus, Eric Dolphy, and the recently
departed Danny Richmond. Included are the
civil rights suite "Original Faubus Fables,"
"All the Things You Could Be Now if Sigmund
Freud's Wife Was Your Mother," the great
"Reincarnation of a Love Bird," and a mind-
boggling "Stormy Weather."
J. Poet, San Francisco Weekly
"It goes without saying or it should by now
after 27 Mosaic releasesthat sound quality is
of an excellence that has seldom been matched
in the reissuing of jazz classics."
W. Royal Stokes, Jazz Times
"...the most careful of all jazz reissue labels."
Nat Hentoff, The Wall Street Journal
^ Jr
NlOSaiC Records Brochure NO. 7: was created by Fred/Alan Inc. was written by Marty Pekar.
was designed by Spot Design, pages composed by Craig Edwards.
order in U.S. currency. Furthermore, every
thing we sell is fully guaranteed. Just say the
word and we'll replace a defective record... a
botched booklet... a worn box... even a postal-
damaged entire set.
That's the way we first set out doing busi
ness. And, by sticking to the plan, we're still in
business eight years later.
QUOTES
"Missing for a long time from American jazz
reissues was fresh thinking, a new method, an
original and consistent point of view. But these
qualities, and a great deal more, have been
supplied by the small Mosaic concern, which is
now entering its seventh year. It was founded
by Michael Cuscuna and Charlie Lourie
both with wide experience of the record indus
try behind themand until recently had no
further staff, and was run from Lourie's home.
The Mosaic enterprise has several unusual fea
tures, each one of them crucial."
Max Harrison, Hi-Fi News and Record Re
view
"The sets devoted to trumpeter-composer-ar
ranger Rogers (who was a leading figure in the
development of the West Coast sound) and
bop pianist Redd (who is best known for hav
ing composed the music for the stage play and
film The Connection) reward repeated listen
ing."
Robert Derwae, Cleveland Plain Dealer
"Mosaic ... has set standards for taste, quality,
and prompt service unmatched in the indus
try... you're sure to salivate."
Gene Kalbacher, CM] New Music Review
"And for jazz-o-philes, the Mosaic catalogue
still reads like a letter from home: witty, infor
mative, and chock full of love."
Joe Vanderford, Spectator
RECORDS
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