Ca
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Ca ccd
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Peters
Cd
DCR
The complete Capitol and Atlantic
Cee Ek d
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eager eee
chance” price
Peso sare his brochure the{you've been in a record store lately, you may be aware that vinyl
ls making somewhat of a comeback. According tothe Recording
Industry Association of America, LP sales have nearly tepled in
the past three years, and many ofthe mass-market record chains
that phased out vny| just a few yoars ago are adding back LP sections.
The good news fr vinyl fans is that LPs are easier to obtain. The
bad news i that costs have skyrocketed! Audiophile pressings ~ the
same 180-gram, deep-grcove, high-grade vinyl records that Mosaic
calls Q-LPs — are being sold in stores for up to $28.
Loyal to vinyl lovers.
‘Mosaic has been loyal to vinyl lovers throughout is history. We've
‘never released a set on CD without algo making it avaiable on LP.
‘And in recent years, through cooperative arrangements with Columbia
‘and Warmer Brothers, we've become the exclusive LP source for major
cots by Milos Davie and Bill Evans, As a result, we've boon experienc:
ing thie vinyl renaissance firsthand ~ we'e seling more LPs today than
we have in years. While we've managed to hold the line on our $15
per disk price for more than two years, the many cost increases we've
absorbed over that period are taking their tl
Last chance at the old price.
Rogrettably, i we want to continue offering LPe, wore being forced to
raise our O:LP price to $18 per disc. The new price wil go into effect
January 1, 1998, eo thi brochure ~ and holiday season ~ willbe your
last chance to purchase Mosaic O-LPs at the $15 per dsc price. CD
ces will not be affected.
‘A q00d place to begin taking advantage of our last chance” price
ould be ournow releases, The Complete Capitol and Atlantic Recordings
of Jimny Giuthe and The Complete Pacific Jaze Recordings of the
Chico Hamilton Quintet. Both are available on O-LP as well as CD.
Just to keep our LP customers informed: Impulse has issued its
fourCD boxed set of the complete November, 1961 recordings of
John Coltrane lve at the Vilage Vanguard. We'd hoped to release a
vinyl counterpart (even C-LPs) atthe same time but a bureaucratic
snag prevented it. At press time, we're stil not sure that wo'l be ablo
‘issue this cat, but we thought you should know of our intention, lest
itaffeots your purchasing decisions. I we get the graon light forthe
Vinyl edition ofthis seminal music, it should be avalable after the frst
of the year.
‘As alwaye, thank you for your support of jazz and Mosaic, and i
there's anything you'd like to ace us turn our attention to, let us know.
(lads Cee
Charlie Lourie
cover: est known a8 rnc, my Gi is loa super esophont ad
the rec fhe Four Bathe enue Photograph canraay oto Roy Harte
PS, A note to our overseas customers about shipping. After
‘8 year's experience offering express courier options, we've
learned there are certain areas that are not best served by
Airborne Express. If you live in one of those areas and you've
chosen Airborne Express, we will automatically enlist what we've
discovered to be the best delivery service for your area. This
‘may result in a credit of an additional fee on your order (typically
‘no mote than $15). So, if you'd like to take advantage of express
shipping, Just check the box marked Airborne Express - we'll
take care of the rest, and your order will arrive promptly.
Ce ee
Part of enjoying jazz ie anaring the experiance
Rs
OWE A DEBT OF GRATITUDE,
= Chris Albertson, Stereo Review
‘or phone Mosaic with your new aderess fo ensure that you don get
“roped trom ur maling Hathe Miles Davis series of compote Columbia recordings
(asued by Columbia on CD and Mosaic on LP) moves
{forward with the complete studio recordings of Miles’ sec:
‘ond great quintet, thie one featuring Wayne Shorter, Herbie
Hancock, Ron Cartar and Tory Wiliams. Personally ths isthe eet I've
‘boon most ooking forward to. This group was recording and performing
‘betwoen 1965 and mid-1968, atime when jazz was at an unprece-
donted love of activity and creativity. And amid ital this band shone
‘above the rest. We waited for each new Milos quintet release with
‘eat anticipation. What would they come up with next? Where would
they take the music? Despite the fact that much ofthis music was
‘sued out of chronological sequence ~ some of it years after the fact
every bit oft always seemed fresh, now and inventive
Bob Belden and| started working on this set two yeare ago and
itisa rei to finally See it realized. Since details ofthe set are found
elsewhere inthis brochure, lke to lay out the rest of our plans for
this series as they stand at thi point in time (ie, etched in sand).
In Mey 1998, Columbia wil issue a two-CD set ofthe complet
‘Miles Davis 1861 Camogie Hall Concert, which doesn't ft conoeptu-
aly ito ary boxed set.
Next Septomber, Columbia wil rlease a four-CD set that beging
in August 1969, whon Milos recorded Bitches Brew, and extends six
‘months to February 1970, ater which Wayne Shorter lft the group
and Miles scaled down his large Bitches Brew-size recording enon
bios. Itis doubtful that Mosaic wil issue thie one on LP for several re:
sons. With reconstructed editing of new mites, it may be impossible
tokeep this set in the analog domain. Also, we're not sure that thie era
of Miles wil be of interest to Mosaic LP buyers. Scream it you disagree.
The complete Miles Davis studio recordings from September 1968
10 February 1969 are scheduled for February 1999. This sot covers all
the recordings made after Herbie Hancock and Ron Carter ef the quintet
and before the Biches Brow sessions. The three-CDVfve-OLP set wil
begin with two selections from Files De Kilimanjaro and end with In a
‘Silat Way, plus an unissued session made two days later
‘The two final bores in this series wll como in 1999 and 2000. Their
release order has yet to be determined, The sete are: 1) the remainder
the 1970 studio sessions that produced Jack Johnson ater which Mies
loft the studio for a yoar and a half; 2) al the sessions with the quintet
and sextet that included John Coltrane; and 3) the 1963-64 recordings
that began with Seven Steps fo Heaven and ended with Miles in Bern,
Cchronicing the evolution and fine-turing of what became the quintet
that we ae celebrating in the current boxed set. Along the way wil be
the 1961 Blackhawk sessions, probably iaeued by Columbia as two
{wo-CD sets and by Mosaic as ais LP oot
With the exception of some lve '69~'70 sessions, tis will cover
all the Columbia Miles from 1955 until 1970. After 8o many years
‘of haphazard releases, isa joy and relief to ee his lagacy given a
‘complete, long-view treatment, and it is an honor to be part of i
Ll C~
Michael Cuscuns
PSS. As we go to press, It appears as though the CD version of our
Benny Goodman (MD4-148) set will be sold out by the time this
brochure reaches you. Then again, we may have a few left. It's
‘2 four-CD sot priced at $64, So, f you're interested, just ask about
its availabilty when you call,
ns on Mosaic. You won't
mocessarly find us going for the big commercial names.
“THe RANGE OF ARTISTS COVERED IN THE
Mosaic CATALOG IS WILDLY ECLECTIC, EVEN
WITHIN THE BOUNDARIES OF JAZZ AND BLUES
EXALTS WITH EQUAL FERVOR, THE ACHIEVEMENTS
oF PauL DEsmonn aNp T-Bowe WALKER,
Jackin McLrAN AnD SHorty Rooras.
Curr Baker anp Caries BRown,
Cectt Tavtor aNd Epptr Convo,
Mayxarb FERGUSON AND ANDREW HULL.”
Gene Seymour, Fi
“M
OSAIC HAS BEEN REISSUING
RARE AND IMPORTANT JAZZ ON VINYL FOR
OVER TEN YEARS, FROM RELEASES
or ‘LesseR-KNown’ Duke ELLINGTON
TO ITEMS LIKE THE
ANGULAR AND EXCELLENT
Complete Blue Note Sam Rivers Sessions,
WHICH, LIKE MUCH OF THEIR
OUTPUT, SHEDS LIGHT ON A PREVIOUSLY
IGNORED TALENT.”
~ Sacha Freve-Jones, New York PestMiles)Davic
The Complete Studio
Recordings of the
Miles Davis Quintet:
Wayne Shorter, Herbie
Hancock, Ron Carter,
Tony Williams
The Complete Studio Recordings
of the Miles Davis Quintet 1985 -
June 1968
Lite to 5000 copies worldwide
(0 O-LPs [MAI0-177] $180
aa
‘The Columbia CD version i
vslable through Tue Blue Music
February Release
Replace those worn Miles Davis Quintet
LPs. And get a giant bonus in the process.
he years 1965 co 1968 were an undisputed
classic er for Miles Davis. After years of
Ron Carter, pethaps the most talented melodist
Tony Williams, by fr the mor explosive and
seositive musician to pick up sticks; and Herbie
Hancock, a pianist who hid blended harmonic
1nd thythmic concepts to achieve a fecedom and
fluidity never heard before, Together, they were
‘a siychm section tha redefined the
In September 1964, tenor saxophonist Wayne
Shorter came on board, He was a musician and
cer uniquely suited to this band, Calke
bis compositions and soloing moved in nervous,
hadowy, unpredictable direction
haunting and hypnotic, other times heartstop
ingly bic ond assertive, the music always
played with che forms of jz, cinkering with
an end. Shorter was pricy suited t "The
Prince of Darkness,” and completed the bund
rinent individual and yer played together
beings with oe mind
Development for the band. And for music.
The albums the Quinte released over the next
thee yeas charted an extrondinary cours of
Jevclopment, Ie began with E-.P,« ite that
tis described how these musicians fel each
other's moods and creative eneruy. One master:
jiece afer another followed: Mile Swi, The
Filles De Kilimanjar
Order Now! Phone: 203.827.7111
A decade late, afer Miles’ music had reincar:
ated ag
again, more gems fom the
alls such as Water Bai, Cine inthe Round
and Dinctim. The new finds showed the band
involved in even more experimentation than
had been previously thoughe
Buc even that was not al
Here's the bonus.
The Mosaic set on 10 Q-LPS ~ the counterpart
to Columbia’ seven-CD release ~ delivers eight
additional, previously wnssued alternate takes,
csion whore
the band works nan nated eure by Miles
and two Herbie Hancock classics, “Speae Like
4 Child” and "I Had 2 Dream,
Columbia Records athe time was cy about
coding daes. Tis teeas finally assembles
everything from he period in chronological
order for an accurate picture of the band’s eve
lution. In addiion, everything the Quintet
recorded has been remixed for vastly improved
The booklet contain history of che band by
Tedd Coolman and musical analysis by lan Ca
Important Notice
“The ming ofthis Mossic AP etease wil depend
‘upon the release date of Sons CO st curt
sened.ed for February 1998. You may place an
vance order a he release-date pice ($180).
Sets wil sip as soon as they become availabe
Fax: 203.323.3526 + E-mall: mosrec@ix.netcom.com 2Bill Evans live at the
Vanguard - the rumors
were true.
Its taken 16 years for these recorcings to finally
appear. And they wore worth the wait
‘Athough th hip Vilage Vanguard crowd that
heard these performance consideced them to be
among Evans! best ever, the ecard company did
rot eease them atthe te, Now, Bill Evans:
Tho Final Vilage Vanguard Sessions ~ June 1980
(Gres us all a chance to hear why fane wer raving,
Evans pereonal approach to modern jaz makes
im an essontal nk in tho chain tom Bud Powel
Wynton Kell and Lennie Tistano to the many
musicians Evans inspired, such as Herbie Hancock
and Keith Jaret, Pelormances by his group
‘made for fascinating rhythmic complet, interplay
nd independence; he even made familar tunes
new in ways ther composers never imagined
This 10-QALP set include 58 selections,
recorded over thes nights, remaed and present
Cd in eronologislexder. (Most recordings from
the fat right, and leser third and fourth takes of
same tunes, have been eliminated for audio and/or
‘musical reasons)
Tho booklet als includes ner notes by Bob
‘lumentha and an appreciation by Harold Danko,
Bill Evans: The Final Village Vanguard
‘Sessions ~ June 1980
imited to 3600 copies worldwide
10 0-LPs [Ma10-171] $150 AQ.
($180 after 171708)
The Warner 8r08. CD version is available
through True Blue Music,
cae
Miles Davis and Gil
Evans, uncut, unabridged,
unbelievable.
Davis/Gil Evans: The Comet
Columbia Studio Recordings
5000 copies world
Ps (MO11-164] $165 A+D
($198 ater 1/1798)
The Columbia CD version is available
through True Blue Music.
By special arangomont with Columbia Records,
Mosaic is dolighted to isaue al the Miles Dass!
Gil Evans Columbia sessions on our auciophile
LPs, inciding 1969 and 1968 recordings
ever commercially avaiable unt thie release,
nike arangors who used orcheetal settings
platform to “elovate az, Evan” inte
‘2 was in exploring waye to combine composed
music and spontaneous playing. Mies was @
musician partculary attuned to the tumpet's
asa
ower to colo, shade and give cimension toa
Dbackekop, he erased fom within in subti, mos
rmoeeing way.
Instead of using Evans! orchestra as a
The sot includes master takes pus alternates
from Miles Ahead, Porgy and Bess and Ske
Of Spain, plus sk tunes recorded for the Quiet
Nights album, three recorded with singer Bob
Dorough and Wayne Shorter (wo years bere
Wayne ofciay joined Miles band), compositions
for pay that were never used, and a previously
unissued composition rom 1968 with quintet,
‘wooduinds, bras, mandala and pedal ste! guitar!
The bookie includes essays by Bil Kirchner
‘Bob Bolden and original producer George
‘Auakan, an annotated dlacography by reissue
producer Phil Schaap, and photograps from
the actual sessions
‘Tiple Grammy Winner!
+ Relssue of the Year
+ Best Liner Notes.
‘Best Album Package (Columbia CD
version)
“Best Reisue of the Year"
= Down Beat 1997 Critics’ Poll
“Like any good thing ~ and in the realm
of recorded jaze there is litle better = this
boxed ser was worth the wait.”
—Bob Blumenthal, The Boston Globe
“This set isa jazz fan’ dream... [But] any
music lover can have fien prowling through
this musi: its not often, after all shat
you get a chance to wach two geniuses con
structing masterpieces.”
—Maleolm Jones Je, Newsweek
“Among. the finest testaments to the mar
riage of composition and improvisation in
jaaze are the collaborations produced by
Miles Davis and Gil Evans for Columbia
Records in the late 1950s and ‘60s
Loren Schoenberg, The New York Times
Most of the emotions sriggered by the best
jazz are abstract: the hair stand up on your
ind you shiver alittle. But Davis, fod
bby Ewan, is telling you, in his monoslabie
neck,
suay and with his long; vibratoles nots
about his lif, about how sad it has been,
about how be pities himself He is no ling
yore how adits to be black; be is telling
you how hard i is tobe Davis, and Evans,
constantly underneath and around, never
stops nodding, ‘Yes, ys. That’ the way it is
Whitney Balliew, The New Yorker
“Limited to 5000 copies worldwide, when it
gone, youll kick youre for missing out on
this treasure, which is sure to become a collec-
Michael Fremer, The Tracking Angle
The A or B that appears after each record number indicates wheter LPs
have been mastered trom Analog or Digital Masters. Q indicates O-PSOrder
A Miles missing link.
‘Miles Davis ~ The Complete Plugged Nickot
Sessions
Limited to 5000 copies worldwide,
10 Q-LPs [MO10-158] $150 AQ
($180 atter 1/1798)
The Columbia OD vorsion is available
through True Blue Music
Eyewitnesses tld stories for years about an
incredible 1985 gig al the Plogged Nickel in
(Chicago. With his amazing new quintet of Wayne
‘Shorter, Herbie Hancock, Ron Carter and Tony
‘Willams, Mie Davie had already begun recording
studio tacks that would change the face of azz
But Mies was reluctant to abandon hie 1950¢
‘0 tin concen. On Docombor 22 and 29, tho
‘uinle’s modern ideas brought new excitement
to the lamar repertove.
ies Davis ~The Complete Purged Nickel
Sessions marks the fist tne this history makng
‘et has been avaiable ints entirety. ln preparing
the Mosaic O-LP se and the comesponding CD
et for Columbia Records, wo worked wit source
reels not known to exe, and ecovered trumpet,
tenor and pian sols that had been edited
very previous release, Now tunes run longer by
‘one te to minutes and a tenth ea ful 10 mites
longer. Mosaics version wil be the only one wth
‘4 lavish, large-format book! which inches rare
photographs by Lee Tanner and Francia Wolf,
“Fortwo inspired nights in Chicago in
1965, rumpeter Miles Davis presided over
some ofthe most sublime music-making
of his carer.
—Howard Reich, Chicago Tribune
Order Now! Phone: 203.927.7111
203.327.7111
REVIEW
Mosaic Records presents
Miles Davis at the Plugged Nickel.
‘The Whole Truth and Nothing
But (Finally).
by Elliot Kallen
Irs summer 1964 and Miles Davis noads eax
player After the bold excitement of 1959's Kind
0f Blue, Davis had lost the bandmembers, John
CColtane and Bil Evans who best understood its
Conceptual mplcatons. For a fow years it soomed
‘as though Davis foray into modatem was to bo
the briolat of encounter; hie new quite, hough
playing fine jz, was essential regressing into
‘more familiar bobop based territory
In erly 1964, Davie bogan putting together
1 completely new quintet. Bassist Ron Carter
‘was hired in early 1964, Drum phenomenon Tony
was brought
aboard, s00nfolowed by a 23-year-old Herbie
Hancock on piano. Wiliams, using a huge palette
‘of col and poyrhythms,ngpired and reenerized
Davis. Hancock's davng blend oftochnique and
cexpermentation melded with Willams’ plying in
ways that lft even Davi dazed, His only problem
was the sax chai George Coleran had held the
position for more than a year, but was getting
increasingly uncomortable withthe recon the
“ew kids” nthe band were taking. The music was
oling nightly. becoming less i. Coleman
‘nas the odd man out and Davi gave him notice.
David had boon ting to hire Wayne Shorter
Iroinly a the behest of Waliams and Hancock)
Shore's obligation to Act Blakey's Jazz Messen
{ger kept this from happening. Suddenly nate
summer 1964, Shorter was tree. Davis immed
stely invited hen to join the band, and even pai
Willams, not yot out of hie ten
the plane fare to bring him to New York
‘Shorter was jst boning t find his oun voice,
‘unique sythese of Sonny lis’ ical stony
telng and the jagaee angular ies of ater Colrane
His compostions wore bik he on — inure
‘of sure anc depth He waste ising piace in
‘avis pure The eet on the group was med
‘ae, Esoluton gave way te reveiten. Everthing was
fai game and though the band was easentaly
playing the same tunes, a song ike “| Were a
Bel” was almost unecognable tram one right to
the next! They recorded the LP ESP for Columbia
in January 1965, the file a divect reterence to
the group's rappoct
Unfortunately, jut the band washing its
stride, Davie’ health problems brought things to a
hal He went into th hospital for an operation on
his dagenerating hip in Api 1966. It wasn't unt
"November, at New York's Vilage Vanguard, that
the group performed togethor again
‘And the fc was stil hor!
Thoy booked a wornight stay atthe Plugged
[Nickel in Chicago, a regular stop on Davis’ US.
Fax: 203,23.3526 + E-mail: mosrec@ix.netcom.com
tours. Columbia showed upto record the portor
‘ances, eager to get more of the new quintet on
\What occured on the nights of December 22nd
and 231d th stu of legonds. The group war at
‘8 oreatve peak. Davie was letting the young turks
take the music even further outside” and he avy
followed, Th set it wae clasic “Stola by
‘Staright: "My Furey Valentine”; *On Groon Dophin
‘Street’ "Autumn Leas"; "Four"; "Walkin®; even
“Round About Midnight” Dav trew n moro recont
‘nes ke “Agitation and “So What but even these
underwent majr surgery onstage The audiences
went crazy; the cities were fabbergasted
‘Ad than or some reason, Columbia decided
againet releasing the music. But the fans had heard
ithe erties had hoard i. and word spread fast For
year, the tapes anguished in Columbia's vaults
Unilin 1976, Columbia's Japanese counterar,
(CBS/Sory released two albums of music n ited
ection Japanese vy. a 1982, Columbia finaly put
more ofthe Pugged Nickel material nto circulation
in the United States. More than 10 years passed
before a severrCD set was isued in Japan, again
2 limited edition, puporing tobe the “Complete
Plugged Nickel" music (some solos had been
deleted).
‘Now a ct, ALL the musi played tho3e two
right i avalabe, nd we have Michael Cuseura
sd Chat Lourie of Meese Records to thank. They
secure the rots to relaee the Plugged Nick!
‘asic, and on VINYL! (The regar CD role ison
Colunbia) Miles Davis The Complete Plazged
‘Nike! Sessionsis a 10-LP set rested on 180-
{1am vinyl, and remastered rom the orga toe
‘chanel master tapos. Tho sound i romarkably
improved over tho 1976 Japanose issue. Obvious
crophone oveoads, partly from Davi rune
et have boon reduced, as havo some lessor, but
‘equal anoying dstorions of time. The beaut
‘okt that accompanies the sts, a work of
ar The music is presented in oder of performance,
‘as it happened almost 30 years ago, alowing the
stoner to appreciate how gome ofthe tunes wore
reinvented inthe space of only 24 hours
Final, i'll hore ~ tho explosive driving rythm
section; Wiliams propaing the group fom one
surpring change-up te another; Hancock shiting
from bistoing rome slo ines to Debussy ike
chordal colors m8 heartbeat; Shorter dining above
ital playing only the exact ight note at the-xact
rightime; Carter somehow kaeping it al fom
surendering to chac: and Mies, soaring, eabbing,
leaping, suspending time and stoning the wneroe
‘8 one could. Someta a legend Toe up to the
hype ad actualy exceeds your expectations. | ced
‘when heard ths music
Copyright 1995 Piay magazine (formerly Audio
Adventure). Reprinted with permission.Alfred Lion’s last great
passion: Andrew
IMax0-161),
Unt the day he ded, Alred Lion, the founder of
Blue Note regarded Androw as his last groat
so INFORMATION, PHOTOS lee yore
AND MORE INFORMATION LLintlad to 7500 Goptes werlawtde
The mystery is how did these records get so litle ‘To put everything into 6 CDs (M06-137] $96
satice when the music on them is impossible to and fascinating pede
overlook? we commission
From 196 to 1966, Jackie MeLean recorded
1964 session for Grant Groon's
‘anang his frest work, and sehen nacre Talkin’ About that producer Alred Lion heard in
most interesting forthe symthesis rerearee Or cette castes, | Lary Young not uta Jy Smith clone, but a
toirg bassoon te bebop bo grew up chyna seepage, thoroughly modern Caltrane-iafuenced veice on
(with Parker, Powell and Monk ater with Mi hilophasiece tho aosee the organ. Fie, swing, chops, orginlty.Lamty
Mingus and Blakey) and the now tee-orm, expr: etied Gheootatise Young had tl, and two months later he was
imental jaze that enivened everything. But for ome Enlightening musical ansiysis I= recording his frst album as a Blue Note artist.
reacon, only three ofthe sescione were intially matter of cours In November 1965, Lany Young's post Smith
released. The ethers were held in he vaut for style exploded on Uniy, featuring Jos Henderson
cover a decade betore appearing “Tue nooxter THAT on tener, Woody Shaw on trumpet and Ein Jones
‘The sessions included drummers Bly Higgins Rcocupeeree ee ere on drums. That album, pls a sting of Blue Note
Jack Dolobnatte, Lee Morgan or Charles Toler
Con trumpet, vibst Bobby Hutcherson, pianists
ary Wil, Herbie Hancack or Harold Mabarn
seniis SEARS bE ee follow-ups, would cinch Young's place in jazz
history a8 the most influential jaz organist of hie
PeAPAD SAD AE generation, and the next
and bassats Coc MeBoe or Don Moore. You To THE MUSIC AND MustcIANS This si-CD oF nin-LP set includes Lary
could assemble musicians with fresher ideas, 1r pescrines.” Young's total Blue Note output a a leader, and
wider range or more vibrant epi Mort Fega, The Palm Beach Post as a sidoman with Grant Green. The bootlet
Topping it al of are Jackie's coos: coherent includes a biography by Michael Cuscuna an
sharp personel statements, beautiful fashioned ‘mary previously unpublished session photographs
and complet, a2 rav and relies as the times. by Francis Wolf,
This isan important perod inthe long career of
aes, ‘The barvier-breaking aural adventures
The booklet i by tho late David Rosenthal
author of Hard Bop, with rare photographs from
ins by Francis Wolf in the history of music
of one of the mast important ja
the original
~ Michael Point, Austin Ami
Statesman
The A or B that appears alter each record number indicates whether LPe
7 have been mastered tom Analog or Digi! Mastrs. Qinccates O-.PsThe “Shearing Sound” never
sounded better than it did live.
“Unprecedented musical
excitement.” — john Hammond
Producer John Hammend described hie goal
1 original ner nates from the early 195
“There was once a time th
session’ connoted the ultimate in improved ze
perform
after hows, paying sity for thor own, not tho
the gathering of great musicians
publ’, pleasure. Today the expression too
often means a paid publ shindig whore cont
pay musicianship and exhibitionism reign
supreme,
“With the release ofthese Buck Clayton sides,
«jam session’ again becomes a rare and wonder
fulerperence, The coalescing force ..was that
mainstay of jazz so often missing in organized
bands: sures
Thanks fo then-modera tape recording and
the new long-paying discs, musical ideas devel
coped a8 naturally a8 when no microphones were
present. In Hammond's words, the
unprecedentas musical exctoront
Every complete take ia here from Buck's six
one, including previo,
uniseved ator
cited cut restored to its
‘original form. Musicians include Joe Newnan,
Ruby Bra, Bennie Green, Tummy Young, Juan
DDash, Coleman Hawkins, Al Cohn and others
‘The booklet, written by Dan Morgenstern, contains
photographs ftom the actual sessions.
Order Now! Phone: 203.327.7111
Fax: 203.323.3526 + E-mal
At last - the rest of us
can hear the Master Jazz
solo piano sessions.
Inthe 1960, meitorder jaz label called Mastor
Jazz gave some of Amerie’ great swing and stride
pianists he opportuty to mmoralze ther at
One by one, ke
ds were brought into the
‘studio and encouraged to play whatever they
wanted, For som it was a fest chance to record
under ideal conditions. Fr other, it was a first
and only chaneo to recor, pviod. Say
performancos wore recorded by Ea Hines,
(Claude Hopkins, Clif Jackson, Jay MeShan,
Teddy Wison, Sonny White, Cilf Smalls, Si
Charles Thomson, Keith Dunham, Gioca Hear
and Ram Rares,
Urtimately, fou volumes of Master Jaz piano
US, 28 well as
‘Ramirez album from the same sessions and a
fith Master Jazz pano LP that was bi aval
able ony in Australi, But due tothe very ited
dstrbution the label received, the albums were
hoard by precious few.
recordings were released it
Now these immensely important recordings
‘are rescued om obscurity on ths four CD or si
LP set. The bookl inclides reminiscences by
Master Jazz founder Bil Weibacher, notes by Nat
Piorce and rare, crgial session photographs,
‘The Complete Master Jazz Piano Series
4 COs [MD4-140] $¢
LPs [MR6-140] $60 A.
“Solo piano establishes an intimate rapport
between performer and litener..throughout
this sex, the performances are inspired and
aptivating
Patrick McCarty, Richmond Times Dispaach
mosrec@ixnetcom.com
‘The Complete Capitol Live Recordings of
George Shearing
Limited to 7500 copies worldwide.
5 COs [MD5-187] $80
O-LPs [Ma7-197] $105 Aa
($126 after 1/1798)
Audiences had never heard anything tke his
‘sound. The right hand clustered chords around
the melody, the lft echoed the line an actave
lower Then, vibraphone and guitar doubled
‘one in he higher regitey, te other nthe lower.
Tho unusual voicing gave each noto deeper hue
and fulinese.
George Shearing’ immense populaty around
the word made his every performance an occa
son, and Capitol recorded five of thse dates.
(On the original tapes were 14 provousy unis:
ued tacks, including an entire album worth of
‘material featuring newcomer Gary Burton on
vibraphone, Hear forthe ret time anywhere ve:
sions of Bobby Termonss "Moanin
‘Wiliars' "Lonely Moments" and Horace Sive's
‘Room 608
The recordings span 1958 to 1963 and
inclade (in ation to Burton) Emil Richards
Waren Chiasson, Toots Thelesans, Al McKibbon
Gene Chenica, Vernal Fourier and Amando
Peraza. The bookie includes a complete dcog
raphy, unpublished photographs and Dick Kat's
liner notes.
Mary Lou
“A wonderful collection of w
ork by a
remarkable artirt whose creativity remains
undiminished.
= Chris Albertson, Stereo ReviewREVIEW
George Shearing: Substance and
‘Sophistication
by Chris Albertson
rst discovered George Shearing on a 1941
Engish Decca release wihere he played boogie:
‘woogie tunes of the day ( befeve one was “Beat
‘Me Dad, Eight to tho Bar’). But most poopie
‘more accurately associated Shearing with a gon
to, sophisticatd for of jazz t was a deca,
propistary style that frst endeared the English
pianist to American aucionoas in 1949, when his
MGM recording of “September in the Rain” put
him onthe map. Shearing’ octaves played in ui
son wih his vibst gave the group is signature
sound, but thera were ather major ingredients
rnotleas the leader's block-chord technique and
tuning improvisatory ski
By 1950, Shearngs records were ringing cash
registers. But popularity has its price, and the jazz
press was quick to accuse him of commercialism,
“Ws amusing” Shearing once told me, “because
| was playing the same music that had previously
listed ther praises ~ the on lilorence was
that my records ware now saling very wel” Sti,
by 1954, when he signed with Capito, Shesrng's
‘r0up wae one of he most sought ale attrac:
tions on the concatcizcut. His ability to interact
wath an audience wes as smooth as the group
too and the ve recordings he made on the West
Coast from 1988 to 1963 have now boon gath
red into a limitodeove bored sot by Mosaic.
Listening to the nearly five hours of music here,
‘one understands why a purist element regarded
‘some ofthis highly eccossible music as border-
ino jazz: At timos it conjures up the image of
martinis and manhattans being sipped in ios
Cocktal lounges. But most of those selections
Contain a heathy measur of he kindof substance
that has earned Shearing his place inthe jazz
firmament. We abo hea freshman performances
from Gary Burton and Toots Thelemans, both
cof whom have since done rather scaly on thet
own, Yes, here area few tracks that would have
been omitted if not forthe word “compat in
the so’ fie, but his ig nevortoloss a wonder
collection of work bya romarkable artst whoce
cratvtyromains undiminished
Copyright 1997 Chris Albertson. All ights
reserved. Reprinted trom Stereo Review, Apit
1996, wth permission.
RELEASES ARE MAJOR EVENTS.”
= Scott Acon, Jaszie
Teddy Wilson Trios. The most
important pianist in swing,
in the ultimate setting.
‘The Complete Verve Recordings of the
Teddy Wilson Trio
Lites to 7500 copies worktwide
5 CDs [MD5-173] $80,
8 0-LPs [M08-173] $120 AQ
($146 atter 171798)
{share 10 imagine one career incucing such
Important associations as Teddy Wilson's, whose
alliances with Bille Holy, Benny Caster and
Benny Goodman produced many legendary
recordings. But the setting to which he'd return
‘again and again and the one that best enabled
hi to expeoss hie arto, the to.
Witon was the most important pani in
‘swing. Idees flowered under his nurturing ouch,
‘You ston for tho igs —aftor a thie impr
‘sod musio ~ butt nover comes. With each tune
he could introcuce 8o many separate thoughts,
clover, clear and complet, and, ike a brant
speaker, make each one relate so naturally to what
came belore and what flowed
For the fis me on CD and audiophile QAP,
Mosaic presents al eight rio sessions Won
recorded for Verve betwoen 1952 and 1957,
including his ve sot rom the 1987 Newport Jazz
Festal. Addktionally included are an eight une
session trom 1954 with Mit Hinton and Sticke
vane, previously iasued only in Japan, and 8
1887 session recorded in Ontario, Canada that
has never boen heard on record at al
‘The same qualities of talent and empathy
that made him a consummate Wo pans, soloist
and singer's accompanist aso helped Wison
tract the best sidemon. The Verve sides are
no exception. They include such top names as
basics John Simmons, Arvell Shaw, Mit Hinton
and Gone Ramey, an drummore Buddy Rich,
Dena Best, J.C. Heard and Jo Jones.
‘The booklet features notes by Loren Schoenbera,
who was both a fend and student of Wilson's
rel
ARTISTS BECAUSE OF
OF AMERICAN Music.
‘THE COMPANY OFFERS
OF LESSER-KNOWN ARTISTS
INTERMINGLED WITH
Ar Mosaic, Tina Brooxs
SERGE CHALOFF AND
Woopy SHaw ARE REGARDED
ON EQUAL TERMS
wiTH ARMSTRONG, Baste
anp Cote.”
= Donna Speller, Tidewater Jase Seciety
ow.
LIST OF viNyL aND CD nox
1 Mosatc’s Lone
SETS, ALL INCOMPARABLY
DOCUMENTED AND SONICALLY
WONDERFUL, THE IMPORTANCE
HAS BEEN RIGHTFU
RECOGNIZED.”
~ Andrew Bartlett, Earchot J
The A orD that appears ator each record number indeste whether Ls
‘have been mastered trom Analog ar Digital Masters. Q indents O:(PsOrder
Benny Goodman, off stage
and out of the spotlight.
‘The Complete Capitol Small Group
Recordings of Benny Goodman 1944-1955
00 cop!
(-LPs [MQ6-148]
90 A
Throughout his career, Senay Goodman achieved
his most popular success wih bg bands, but
small groups gave him the freedom to solo more
ly and more expressively.
The small group sides he began making for
Capitol in 1944 were no exception. Contrast the
classic, note pettect ive orchosta periormancoe
ram the period with this eis o re-blowing
ewploraive recordings, Tro dats feature piansts
Jimny Rowles and Teddy Wilson; soxtots
vibist Red Nowo, guitarist Al Hencickson, parst
and Goodmarraranger Mel Powell and others
and a unique, tree-tune tenet session ads
CChatie Shavers, Beony Carter an even a vocal
from Sten Keeton
de
‘Some years later, Goodman experimented
with poppers Wardell Gray on tenor and the
brillant trumpeter Fate Navarro, And while helt
Capit in 1948, Goodman rtumed in 1954 with
Mel Powel, Charte Shavers, Ruby Bra a
Lionel Hampton t record the Goodman classica
B.G in HiFiand The Benny Goodman Sto
‘The 88 pertorman
teatro 12 that have
never been heard before and 14 that never made
itto 12" LP. Only 14 have ever been available on
(CD anywhere in the wold. The booklet was vit
tan by Loren Schoenberg, Goodman's archivist
‘musi! calaborator and tend
Order Now! Phone: 203.327.7111
203.327.7111
‘Proof that the great small-group Goodman
ned to the 1930s.
R.C. Smid
wasnt conf
Durham Morning Herald
This is one of Mosaic best recent issues,
almost on par with its
rge Chaloff set
= S.RB. Iyer, The Columbus Dispatch
st widely held opinion, Goodman
he 1947-48
twas il at his best during
pevied when mos ofthese macks were
recorded and many people who thought
brim then tobe in decline will, like me,
have their opinion of tis particular
Goodman era reversed by this collection.
Iu many
1 his sophisticated approach
to his material was better than in earlier
years and his technique at its most crisp.
Steve Voce, jaze Journal International
EARNED THE RIGHT TO PAT ITSELF
AFICIONADOS THAT YOU CAN
ALMOST HEAR CHEERS GO
ReISSuES, WHERE ELSE WERE YOU
PACKAGES DEVOTED TO GREAT
suc as ANDREW Hitt,
Tina Brooks, Hersie Nicuois
ann Don Cuerr
= Lloyd Sachs, Chicago Son-Time
Fax: 208.323.9526 + E-mail: mosrec@ix.netcom.com
MAIL-ORDER Mosaic RecorDs
THEIR SETS ARE
ONE PERIOD OF
NOTES AND PHOTOS
Lag Th Highpoint
Perris!
contain tho same music whethor you
order your sets on CD or LP.
(not 2 scaled-down CD pamphlet).
“THe COMPANY’s PRAISES
Ty was rHE HicHest
QUALITY AND AFTER-SALES
SERVICE.
18 INVARIABLY INTELLIGENT.
Its pouicy
= Steve Voce, Jaze Jonrmal
International
0NO LONGER AVAILABLE
«
Aurover I Now HAVE EIGHT Mosaic sets, I STILL LOOK LONGINGLY AT YOUR ‘No LONGER
AVAILABLE’ LIST AND WISH I'D HEARD ABOUT YOUR EXCELLENT COMPANY EARLIER."- From a customer in Stockport, England
Mosaic Sots No Longer Available:
101] The Complete Blue Note Recordings of
“Thelonious Moni
[102] The Complete Paci Jazz and Capitol
Recardings ofthe Original Gery Muligan Quartet
‘and Tenttte with Chet Baker
[108] The Complete Blue Note Recordings of
‘Alber Ammons and Meade Lux Lewis
1104) The Complete Blue Note and Pace Jazz
Recordings of Ciford Brown
[105] The Complete Pace Jazz Small Group
Recordings of Art Pepper
[106] The Complete Bive Note Recorngs of
the Tha Brooks Quintete
[107] The Complete Blue Note Fotos
Recordings of ke Quebec and John Hardee
[108] The Complete Recordings of The Pos of
Hale Jazzmen
[109] The Compete Edmond Halldames P.
Johnson/Sicney De Para/Vic Dickenson Blue
Note Seesions
[110] The Completa Blue Note Recordings of
Sidney Bochot
[111] The Complete Candid Recordings of
(Charles Mingus
[1121 Tre Compete Biack Lion and Vogue
Recordings of Telorious Monk
[113] The Complete Pacific azz Liva Recordings
ofthe Chet Baker Quartet with Russ Freeman
(114) The Complete Art Hodes Blue Note
Sessions
[118] The Benry Morondiemy Hamiton Bive
Note Swingtts
[116] The Complete Bud Powell Blue Note
Recordings (1949-1958)
[117] The Complete Verve Recordings ofthe
Buy DoFranco Quarte/Ouintt with Sonny
lak
"
LIMITED EoITION
couecri
Mosaic sote are limited eaiions.
‘Once they sell out we wilt
ever make them aveileble «gain,
ng immeasurably to the bistorieal
significance ang tuture vate
of the Mosaic sats you buy.
“Brcausz Mosaic 185vzs onty
LIMITED EDITIONS, YOU'VE:
ALREADY MISSED A THREE-BOX SET
CONTAINING EVERYTHING EVER
REconDED Fon Commonons
RECORDS, THE COMPLETE BLUE
Nors recorpinas oF TuELoNtous
Mor, THe comptate Pactrrc ~
Jazz anp Caritou RecoMDINGs:
or THe onrcinat Gunny
MULLIGAN QUARTET AND TENTETTE
wiry Cuat Baran, THR COMPLETE
CANDID RECORDINGS OF CragtIB
Minous, AND MORE THAN 30
OTHER TREASURES THAT WERE
QUICKLY SNAPPED UP...
Oven THe veans, I've sovGHT
16 Mosates, aND mY ONtY
necurr 16 | Dow’r own mons.”
~ Steve Emesine, Jasibeat!
[118] The Complete Blue Note Recordings of
Herbie Nichols
[119] The Pete Johnsow/Eat! Hines/Teddy Bunn
Blue Note Sessions
[120] The Complete Recordings of he Paul
Desmond Quartet wih Jim Hall
[121] The Complete Blve Note 45 Sessions of
Ike Quebec.
[1221 The Complete Pactic Jazz Stcko
Recordings of the Chet Baker Quartet with Russ
Freeman
1123] The Complete Commodore Jazz
Recordings, Volume |
[124] The Complete Bive Note Recordings of
Freddie Redd
1125] The Complete Alanis ard EMI Jazz
Recordings of Shorty Rogers
[126] The Complete Johnny Hodges Recordings
1951-1955
127] The Complete Candie Recotsings of Cel
Taylor and Boal Neitinger
[128] The Complete Commodore Jazz
Recordings, Volume I
{130} The Complete Recordings of Fone
‘Walker 1940-1954
131] The Compote Recorcings ofthe Stan
{Getz Quintet with Jimmy Raney
[132] The Complete Blue Note Recordings of
George Lewis
[133] The Complote Blue Note Recoxdings of
Grant Groen with Soony Clark
[134] The Complete Commodore Jazz
Recordings, Volume I
[136] Stan Kenton; The Compete Capitol
Rcordings ofthe Holman and Russo Chars
[138] The Complete Capitol Recordings ofthe
Nat King Cole Tio
[130] The Complete Candid Otis Spann
Lightnia’ Hopkine Sessions
[141] The Complete Bive Note Recordings of At
Blakays 1960 Jazz Messengers
[149] The Complete 1959 CBS Charles Mingus
Sessions
[145] The Complete Bive Note Recordings of
on Cheey
[149] The Complete Rouicte Stusio Recordings
of Count Basi and hie Orchestra
The A er D that appears ater exch record number indicat whether LPs
‘have bean mastered rom Analog of Dig Masters. Q indicates LPsOrder
You can find Amos Milburn’s
influence everywhere.
Until now, you couldn't find
his recordings.
‘The Complete Aladdin Recordings of
‘Amos Milburn
Limited to 3600 copies worldwide.
7 COs [MD7-155] $112
10 O-LPs [MC10-185] $150 AD @
($180 after 171798)
‘When he ded in 1980 he was broke ~ a sad ond
fora man who in 1949 was Billboarls biggost
sling RAB antist and someone who was used to
thing auefonces with i joint jumping bounce.
He could sing ary sya, rom blues to jazz
‘But it wae usualy sheor boogie woogie from the
arts down. He took the boat tom Abert Anemons
‘and Meade Lux Lowis and rocked itharder and
‘blur, added the vitality of Louis Jordan's jazz
inflected RAB, and emerged as something of his
‘own creation, You can ace a direct line from
the boogie woogie masters though Amos
Milburn to easy rock'naller Fats Domino, who
considered Miburn a ral hero. That important
cng hie recordings today is lost mpossil,
but al 145 performances he recorded for Aladin
‘over 31 sessions are collected in thie Masai st.
Twenty-one tracks are previoulyuniseved and
any more have never been issued on LP oF CD.
‘The booklet includes @ newly rscarched biogra
phy by Jooeph F. Laredo and session Iner notes
by Mark Humphrey.
Order Now! Phone: 203.827.7111
203.327.7111
REVIEW
Blues, Broads and Booz
R&B pianist Amos Milburn got mighty
Tow down.
by Miles Jordan
twas 1959, and | wae ivng in San Francie
‘and frequenting Jack's Rocord Cola basement
‘shellac and-inl emporium jst around the enor
from the Haight Strat Bar8-Que.
used to hang ou ere, to, pray often 10
Jeet “Lane Ca” Ful, oneravband masisan
‘who'd core over ram sland, where he lve ard
‘worked runing ajackhare, evn though he was
in is 606 He'd oat up ie nctumonts in ho restau
rant’ backroom, and the young lacks who'd been
{eccing quarter int the jukebox woud ade ot the
oar when it was tered of so Ful’ sal aud
ence coud hear hen,
‘But thats archer stor. Back o Jack's Recor
CCatar andis unique over, Norman Perce, who'd
bough the place years lee from a guy remed
ck and never had gottn around to changing the
pare. Pero had been a merchant oars in his
yout, end n between spinning record, answering
‘hone requests for abscure 19208 7s and saling
-45 RPM his ofthe day to neighborhood kid, hol
‘egnle whoever was preont with aes of dorrngydo
‘on the high sags and the low dives fund inary por.
(One day, a a fend ae war in attendance, ho
‘was plying a record (probably one we'd askod
fe) thon took of the treble in midoong, saying
“Enough ofthis $3.98 bul time for seme
$1.98 honesty” and slapped on an Amos Mibu
album,
‘As coon a tho fist sain of “Les Have a Pay”
blasted out ofthe speaker Usck's was esoiely
‘mane and goof cours, wa the recor, halle
eld” An thus bogan my iataton with the
music of Amos Mibum and his Aladsin Chicken
‘Shockers,
Miburn was just 19 when he ha his fst ht with
‘wo songs corded at hi fist seasin in 1946:
“Aor Midnight rele ves done a Charen
Brown, and an uptempo version ofthe Wil
Bracley/Ray McKinley Band boogie wooge hit,
Down the Road Apiecs" Along wth the occasional
bald these were the hallrarks of the mliuous
Pianiat's 10-year earor with Aladin, now tly
ocumonted on Mesa Recor’ ecolntsovenr
(CD eet, The Complete Alan Recordings of Ames
lr, Pror to thi, ie music was oly avaiable
‘on that laden album Fd bought (and had severly
‘ined at dazens of pares) on 2 1978 US. LP and
‘few French and Swedlsh albu that came out
inthe 90s
Fax: 203.323.3526 + E-mail: mosrec@x.netcom.com
There so0me tobe more interest of late, how-
‘or: You can fed Mibutn's music on EMe
‘26-track Down the Road Apiece (1899) and a
foue-CD Japanese set. And although he wert on
to recordin the 80s and 70s, the heart and soul
cof Mibu i to be found in this Mosaic collection.
‘Aterhours bles and uptempo boogie woogies
‘wore Miburn's meat and potatoes, and, with an
‘ccasional ballad a a tasty side dish, that's what
he oflered upto an eager puble. His biggest ht
was 1950's “Bad, Bee Whiskey” which reached
1 on the RAB chants; that led toa sere of alco
hobrelated song, one of which, “Good, Good
Whiskey! found him touting ia paliative for
‘a broken heat
Miourn's main man on most ofthese 148
elections (only 21 of which wore unissued unt
now, and only two of which ae second takes)
‘was tenor saxophonist Maxwell Davis. Davi!
smooth obbigatos onthe slow goods and inspired
bowing on the faster boogios set tho ste for
Miu’ own hommen when, inthe fl of 1949,
he formed the Chicken Shackors ~ named ater
his signature pice, “Chicken Shack Boogie!
(That une, by the way, was fet recorded in 1947,
then done up even hotter in 1958 at Mibur's
enutmate session forthe label in New Orleans,
With Lee Allen's tenor 8% fanning the flames
even higher)
Tis collection is ful of rane tales of need
ing a woman, missing a woman and - some
times finding a woman, The jvey“iterDug
Fashion Parade" epitomized othe joys: “Every
bodys hare from all over town, gettin’ real high
and mighty low down’ Hot boogie woogie give
‘way to co9! ballad, alo them impeccably
reakzod by this suave pianist with some of the
smoothest pipes around,
‘After couple of strokes curtailed his career in
the "60s, Mibum moved back to Houston (utore
he died in 1980 at age 2), got religion and gave
up chnkng, His marry is well served by this
outstanding sot, whic i also avalablo ina 10
LP coniiguraton.
‘The accompanying books is LP-ized (Le. no
‘magnifying glass needed) and contains a wealth
‘of information. This gote my vote for he best
boxed set ofthe year!
Originally published In Chico News &
Review, Apri 20, 1995. Reprinted with
Permission.