Professional Documents
Culture Documents
••••••••••••••••••••••••••••• we did just that.. Since then we've come to produced these sessions, created the sort of
Ten years in the making. you from real offIces and a real warehouse nUl"turing, unencumbered almosphere in
and there are five other people hel'e to talk the studio which inspired artists to go
to. Their names ar'e Phyllis, Margaret, beyond the perfunctOl"y and reach below
everal years ago, while accepting an
A
whose Blue Note recordings are themselves round twenty yeat'S ago I was going
little pieces of time. Blakey made bandleading Lghtnin' Hopkins is valued amongst their thl'ough the Impulse vaults fOl'
part of his artfonn, and each Incarnation of finest. That, and the inclusion of much some reseat'eh on John Coltrane,
the Jazz Messengers created history, both for unreleased matel'ial from both sessions, and J remembet' being amazed that Bob
the music and the personnel that played it,
makes this set a must for blues lovers. Thiele, Colll'ane's producer, had ahso-
The complete recordings by the band many
Fans of swing and stride solo piano will lutely no recol.lection of majOI', major
consider his finest - the 1960 version - are all
together on Mosaic's new set. August 1960
be thrilJcd with thc Master Jazz Piano sessions that had oecuned as I'ecently as
photograph at the Jazz Gallery by Francis Wolff. Series box. Bill Weilbacher, the fan who eight years before. There I was, looking for
2
new infol'mation, but instead I wOIUld up Blue Note record between 1940 and 1970, I fOI" the lil'sttime since we'd I'ecorded them
reminding Thiele about a ton of stuff that I now [md I have a hal"d time answering ques- was an amazing experience for me. Memories
had docwnented, and that he had completely tions about record dates that 1 produced! came rushing back of things we tried and
forgotten about. succeeded at ... things we had to scrap, , .
Today, I understand why, I grew up The perfect Mosaic project. players whose pl"esence at particuJal' sessions
learning about and treasuring a lot of Blue Mter aU these years, it suddenly occuned to I'd completely fOI'gotten about. For the fil"st
Note jazz and Atlantic R&B , , , and while I me that my deep involvement with Woody's time I became aware of the histol'ic value of
can still teU you who's on just about every music was what was keeping me from I"ealiz- the performances that I'd actuaUy partici-
ing the pedect Mosaic project was stal"wg pated in ... and the feeling was a bit stl"ange.
me right in the face in the fOI"m of Woody Now that the project is complete my only
Below: Shaw's substantial body of work for CBS. regret is that Woody Shaw is not here to see
flRST. Master of the soprano saxophone Sidney When you WOl"k with someone as dynamic it. And I'm particularly proud to have
Bechet ranks first in a lot of categories. He was and passionate as Woody Shaw, you get played a part in making this music avail-
the first real giant on this tricky, demanding close in unexpected ways. You share his able to the world, not once, but twice.
instrument; he was responsible for Blue Note's
personal triumphs and disastel·s. You hang
first hit, "Summertime"; and he's featured on the
around together, talking and laughing and
Port of Hartem Jazzmen LP, one of the first of
Mosaic's re-releases to sell out. If you missed arguing and working. Many ideas are
that one don't pass up Mosaic's 7he Complete explored and abandoned before you find
Slue Note Recordings of Sidney Bechet. Photo- the one you Like. It can be aU-consuming.
graph of Pops Foster, Wild Bill Davison and Going through the Sony Music (fol"merly
Sidney Bec:het from April 1950, by Francis Wolff. CBS) vaults and l'elistening to those sessions Michael Cuscuna
MOSAIC RECORDS 3
NEW R E LEA S E S
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At last - the rest of us Extremes of the blues-
can hear the Master Jazz Otis Spann and Lightnin'
solo piano sessions. Hopkins.
Until now. alld a commitment kept, and bodes The Complete Candid Otis Spann/
Today, The Complete Master Jazz Piano Lightnin' Hopkins Sessions
Limited to 7500 copies worldwide.
Series is a permanent testament to the infi- weUJor t/wforeseeablefiLture."
5 LPs [MR5"139j $45
nite variety and ,"iehness of the jazz piano 3 CDs [MD3-139j $45
tradition in true Mosaic fashion. Thc set F,"ank Driggs, Audio
E
o)'iginal Lightnin' Hopkins in New York Vet'Ybod Y knew whal a hrilliant and
album, our set includes one track ("Black powerful ell'ummer Art Blakey was-
Cat") previously released only in edited his patented rising press roll; his
for'111, plus fiVf~ Hopkins tracks previously dipped, incessant hi-hat; his flutter-effect
unissued in any fOl'm, rim shots. But Art Blakey's real genius was
shaping the sound and dynamics of a jazz
g"oup as fit'mly and distinctively as
Toseanini ,haped the sound of a symphony The Complete Blue Note Recordings of
". , . Mosaic Records, in Stamford, on~hestl'a. Art Blakey's 1960 Jazz Messengers
This was Iwver more evident than in the Limited to 7500 copies worldwide.
Connecticut., has become the jazz COLl1/.- 1960 Jazz Messengers. 10 LPs [MR10-141j $90
6 CDs [MD6-141j $90
terpart (if'the Library ofAmerica. it Morgan, Shorter and Timmons.
Together.
Lee MOI-gan, on trumpet, composed and 1960 Jazz Messengel's tells thl' tale, f"olll
assembles, in handsome, thoroLlgh, uni-
pla)'l'd pure hard bop. Wayne Shot·tet·, on stal·tto finish. This 10 LP/6 CD Mosaic set
"axopholw, wa" a born futurist, constantly ineilldes all eight albums l'e!east'd lIy this
form paclwges, the best ofthe
br'imming with off'-I'f:'nttT ideas that Wl't-!' quint.,ssential gl'oup: The Big Beat, It Night
year's ahead of their time. Bobby Timmons, in Tnnisiu, Like Someolle in Love, Meet
out-oj-print, oJien forgo/.ten recordings
on piano, was a master at funky, gospd- YOIt at the Jazz Corner of the World
hasl'd composition. The pt'oJ'ulsive hass Volumes! and /1, Roots and Herbs, The
that have been made Jor small jazz
playel' .Jymir ."let·rill, an individual who Witch Doctor and The Freedom Rider-
was pat-tieulal'ly aUuncd tu Blakey's most of whidl have Iwen unavailabl(' for
labeLs during the pas t fijiy years, "
rhythms, nlllnded out the organization, ove'- a deeade, Plus, five j)erfonnall('es
The faet that Blahy had in iVloq;an, releasecl ollly 11I'idly in J aJlan and Iwo
Whitney BalliI'll, The New Yorker
Shor·ter and Timmons thn~e distinrtly unissued perf...·mances.
differpnt musical personalities who wer'e as The booklet illdud"s a complete
talentpd as l'l""po,el's as they weI'" as lliscography, biographical and lIIusi(,i11
instrumentalists gave this Land its analyses hy Bob Blumenlhal and l"iln'
The Otis Spann s(~ssi()m; featul'c Hobe/·t phologl·aphs.
extraordinary dept h and level of quality.
Lookwood Jr. (RollPJ't Johnson's stppson)
What tlll'Y wen' abll' to generatc in only
on c,'1litar' and occasional vocals, the
14 months i, ahout thc' Ill'st exampll' of
legendary SI. Louis Jimmy, and six great "ereative inspiration" you can find. And
instrumental hlues and lJOo~c piano solos, now you ean find it- all of it - on Mosair. "if quality is ·what. yOIt most wallt )'0/1.
Also included: the f'ntirr !'lassie Candid
aUlUm Otis Span1/. Is The Blnes, the A marathon of music.
can S/'art by checking onl iV!oSltic
ohscure follow-up album Walkin' The Blues TIlt> t'ceorrling mat-athon stal-led in March
(not n~leased until 10 yean; aftel' Candid lY60 and didn't stop until Timmons and
Records, (L sl1'lall,jiRrcely independent
folded., aod then, only hl'iefly), pillS 13 MIJl"gan left in May 1901. Thl'Ough seven
pJ'f~violisly um'eleased perrot·mallees. majol' studio sessions and a I,.,eonled stint
IlwiJ-order company I.hal calRI'S to juz;;
at Binlland, Art Blakey's 1960-l'lIi,ion Jazz
Rare then. Limited now.
MesSl'ngers W('IT Iwpl busy donullenting
These "xtl'em.,ly I'an'. ,'el'onlings by cOlllloissenrs orOluult./1R lVorld,"
one of the most impa,·tful small jazz groups
Lightnin' Hopkins <lnd Otis Sp<lnn have that Blul' NOll"'s Alfl'Nt Lion - or the wo,.[f!
been meticulously tl'ansfern~d fl'Om the OWl'll McNally, Hartford Courallt
- had ..,v..,r Iward.
OJ'iginal ste/'eo mastel'S, The booklt,t
To hear OIW of the real signature sounds
includes an informative essay, biogt-aphies in musi(" and thl' OIl(' hand that mayhe !Jl'st
and session notes by Mark Humphl'l~y, defi/wd it, thi, ('olllplpt(~ s..,1 of AI,t Blakey's
MOSAIC RECORDS S
NEW R E LEA S E S
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Was there one Woody "You've got an awkward
Shaw? Or three? combination there. "
The man tradition Wkwal'd, indeed. Few, at the time,
couldn't contain.
MOSAIC RECORDS 7
Mas A I CPR a MIS E S
W
e stal'ted Mosaic with an am. bi-
tious agenda of standards and
Limited Editions make important
Mosaic stands goals that, to this day, is stilJ thp
guiding force behind pvprything we do,
music into important recordings.
Mosaic sets al'e limited to no more than
by its plan. Important artists. Not just the 10,000 worldwide (usually even less). Once
biggest. they al'e aU wId we wiU never' make them
Thp aJ·tists we choose al'e selected for their available again, adding il1lllleaslll"ably to
place in the histol'Y of American musie. the future value and historical significance
Music, above all, is what determines if an of the Mosaic sets you buy.
artist bdongs on Mosaic.
And speaking of value, that's a basic
You won't necessal·i1y find us going fOl'
tenet of ours.
the big commereial names. But, neithel'
Mosaic pl'ices arc competitvc with common
will you find us diseriminating against
records and CDs. Record sets al'e priced
them. Hel'e, 1'01' the first time anywhere,
at $10 per LP. CD sets aI'e priced at $15
Brooks and Nichols are J"f'ganled on e<[ual
per CD. Thc booklet, the box and the sel'-
tenns with Monk, Mingus and Getz.
vice come to you at no additional ehat"ge.
Everything you expect. And more. Mosaie CD huyers get pxaetly the same
Choosing the al,tist is only half the hattie. l1lusie as in our (TitieaUy acclaimcd, deluxe
The oth,'I' half is deciding upon a histori- LP sets. With the exaet same informative
cally viable coneept. We want Mosaic sets LlOoklet (not a scaled-down CD pamphlet).
to be as important, and as complete as we In the same sturdy 12" x 12" libl'al'y box,
can make Ihem. OUI' sels indude every sig- With the same ]jmited-edition colleetibilily.
nificant track that falls within the scopc of And, sincc there are fewer CDs than LPs in
a given project, presented in an organized, a given set, OUl' CD sets come at a pl"ice
chronologieal manner usually for the fil'st that's very close to or, in some cases,
time ever, \Ve go into Ihe vaults of as many exactly the same as the LP equivalents.
re(,ord labels as neccssaq' 10 examine all
We make ordering easy.
their original session tapes. In addition to
And we guarantee satisfaction.
pl'eviously issued material, Mosaic sets are
You ean use the order form in this
usually rich with unreleased tl'acks and
brochure to onlet· Mosaic sets. 0." simply
valid alternate takes. It's no accident
('all during working hours and tell us what
we're considered the label for failS and col-
you want. You'll be speaking to a mcmber
lectors "who want it all."
of the Mosaic family, not a switchboard
Information, photos and more onlel' takcr. You may pay with VISA or
information. MasterCard, a check drawn on aU,S,
To put everything into its proper and bank or money onler in U.S, currency,
fascinating perspective, Mosaic commis- Furthel'mol"e, everything we sell is fully
sions leading authorities to write OUI' guaranteed. Just say the word and we'll
hook lets and supply collectors with all "eplaee a defeetive I'eeord a maned
pertincnt dates, personncllistings, and booklet ... a worn box even a postal-
discographical information. Our booklets damaged entil'e set.
range in size from eight pages to 64 pages. That's the way we first set oul doing
Inteniews and photogl"aphs from the business. And by sticking to the plan, we're
actual sessions are included whenevel" stilJ in business almost ten years late.',
possible. Enlightening musical ovcnicws
are a matter of course.
M
osaie's first volume of The Complete BeITY, Jelly Roll jVlorton, Willi" The Lion
Commodore Juzz ReCfJnlings Smith, ColemanlIawkin,,;, Md Powell, ami
n~t.:t'ivpd five stars in Duttilt BeuL., two a host of olhers.
Grannll) Ilo'ninations, and f':xlravagant praise-
in ~v~rylhin~ fnlln JozzTimes to Notio/wl "Can the Mosaie folks top this al't! Yes.
Review. but only with Volume II and III. They'n' doing
Spanninf'; [9:18-[94:3, Volltme I features Ihl' job none of the conglomerales eould or
,,;ome of the most valued r~eordings by ,,;uch would touch."
artisb as: L,>ster Young, Billie Holiday, Chu Alan Bargebuhr, Cadellce
~~~~~~~~~~~~~~~~~~~~~~~~~ eould get fO!' hi,,; Commodore lahp!. Commodore Story" hy Milt Gahler. session-by-
During the next 14 month,,; Commodore session notps hy Dan MorgenstPI'n, rm'p
The Complete Records would record ami rplease as much photographs, and a thol'oughJy ,'esearchpd
Commodore Jazz great music as it had in its first five yeat'S, diseography.
combin.·,I! • Edition limited to 2500 copips worldwide.
Recordings, Volume II.
• In lIofrulIP 11 you'll get :~40 "ecordings made
"*****"
The Complete Comllwdore Jozz during that historic timp on 2::J LPs. Included Down Beat
I
n
Recordings, Volume ll, Mosaic Records al'e dozens of "Commodore landmal'ks"
takes you back to an cra when a record slol'e featuring Billie Holiday" L.'stn Young, Bpn
"Mosaic has once again eompiled an historic
eould thrive sdling jazz. Webster, Zoot Sims. Red MeKpnzie, Hot Lips
and eultul'al document of monumental
It was 1944 through parly [945, and the Page. Bobby Hackett and Ed Hall with Teddy
significanceo ,~
Commodore Record Shop, together with the Wilson, all sounding better than you've "'ver
W. Royal Stokes, JazzTimes
record label that it spawner!., was smoking! The heH"d them. Plus., then' are surprisps around
war ""US winding down, ano ~h('Uae was evel'y turn, with llevt·,'-bcfore-released
altentate taktcs and newly discovered tracks by "One wOld,1 havp to thumb thnHlgh tlw
becoming more r~adily availablp. A reeording
AlIH'rt Ammons, the DeParis Brothers, Jess dictionary of circus hype for words like
han imposed on thp industl'y hy the Amel·ican
Stacy, Sid Catktt., Jack Teagarden, JoP 'stupendous' and 'colossal' to find adjcl'li\'es
Fpderation of Musicians was lifted, and
Bushkin, P,'e Wee Russell, Eddic Haywood, ad"''1uate to descrilw tIll" spcond volume of thc
suddenly year, of pent-up crpativity found
George Zack .. and many others. cOlnplete Conunodon-' re("ordin~~ ... To say
pXfJr,-ssion on disc. In New York, Milt Gabler
• 48-page booklet contains Part II of "The volunw two is the P'Iual of volume OllP is v,.,.y
was thpI'p to I'aptlll'f' as mUl'h of it as he
high pl'aise indeed, and so it is." .
Bob HiLbprt, Joslill's Jazz JOllrtlal
MOSAIC RECORDS 9
COMMODORE VOLUME III
V
olume III in Mosaic Ref,ords'
wlprecedentl'd Limited Edition release Red Norvo and His Orchestra with Shorty ~liggs.
of The Complete Commodore Jazz Rogers, Flip Phi]lips, Eddie Bert, Teddy • Commodore's excursion into modern jazz
Recordings includ..,s aLI the last 78s, aLI the w- Wilson, Remo Palmiel"i, Slam Stewart and with Frank Wess.
inch and 12-inch LPs, important addenda to Specs Powell; Bili Coleman, featuring Billy • Peek Kelley recorded at last.
hoth [wevious volumes, plus a wealth of Taylor on piano; Gene Krupa with Charlie • 246 recOl'dings on 20 LPs.
previously unissued material hy Billie Holiday , Ventura; the Stuff Smith Trio, with Billy • 4-8-page hooklet contains Pal"t III of "The
Bud Freeman, Jonah Jones, Ralph SUlton, Taylor and Ted Sturgis; TNldy Wilson fronting COllllllodore Story" hy Milt Gahler, session-hy-
Frank Wess, Mel Powell, Wild Bill Davison, membel"S of the Red Norvo ensemble; Don Byas session notes by Dan Morgenstern, and rare
Peck Kelley, Eddie Edwards' Original and Slam Stewart. photographs.
DLxieiand Jazz Band, and others. • Serious jazz hy Jouah Jones, with Ike • Special 6S-page beginning-to-end disc-
Quebec, Tyt·..,e Glenn, Hilton Jefferson, Milt ogrnphy of Commodore jazz. Pubhshed for the
You were there . .. Hinton, and .I .C. Heard. first time ... a $25 value.
The years were 1945 through 1957 and • Edition limited to 2500 copies worldwide.
technology was on a rampage. America WaS
going through postwar changes that would set
the tone 1'01' the rest of the century.
The advent of the tape recorder in the late
'40s opened up a Pandor"a's box ruled with The Complete Commodore Jazz Recordings, Volume III
gimmicks, special effects, and easily attainable Limited to 2500 copies worldwide.
perfection. Recorded music had lost its 20 LPs [MR20-134] $200
innocence and it would never be the same again. Please note special shipping charges on order form.
Still, the Commodore label remained Not available on CD.
steadfast in its dedication to the musie, and to
the musicians, that typiJied the era it had helped
to define. From the all-star Town Hall concert
of June 9, 1945 through the legendary Peck
Kelley private recordings of June 9 and 16,1957,
Commodore was making history to the end.
Special Offer:
If you purchased
"I've had offers to produce. And I said, I've Commodore I and "
got to get my stuff out again. Then maybe I'U send in your coupons
produce. But at my age, where am I going to and take 20% off on
find a Billie Holiday or a Pee Wee Russell? I Commodor'e III.
enjoy going to concerts ... I hear the new guys
... blowing their brains out and playing their
hearts out. Occasionally you hear something
fabulous, but it doesn't top what we had.
it was a time that may neVer come back."
Milt Gabler
N
notes, a thorough discography, Art Hodes'
from many nations, gave birth to own writings, and many rare Fnrncis Wolff
Bechet and his sound. It also filled photographs, plus a new appl'eeiation by
him with the ur'ge to travel. He stomped Dan MOI'genslern.
'round the world while still in his twenties. (In order to be complele in each ease,
Russia. Egypt. He played for the king of this collcction includes scven selectiuns >llso
England, bangcd around in bistros, ran a in our Sidney Beehet set.)
Harlem speakeasy, did timc in Paris ... The Complete Blue Note Recordings of
HI" was all over the globe, making every Sidney Bechet "This delightful five-n'cord set collects all
musical note count. Limited to 7500 copies worldwide. of Hodes' infol'mal Blue Note dates, wilh
6 LPs [MR6-110] $60
An astonishing improviser. wondel'fut contribulions f.-om Sidney
4 CDs [MD4-110] $60
Bechet had an astonishing ability to improvise. Bechet, Max Kaminsky, Vie Dickenson,
The Complete Blue Note Recordings ofSidney and Baby Dodds among olhel·s."
Bechet is a reminder of his substantial gift. Fl'aneis Davis, Philadelphia Inquirer
He h>ld a powerful tone, thick vibmto,
and unflagging energy. He was the first true •••••••••••••••••••••••••••••
master of the soprano saxophone. First we'll tell you
New transfers add clarity.
what we went through
Bechet appeared from 1939 to 1953 on 13 with Art Hodes, then
sessions 1'01' Bluc Note, 10 as Ieadel', yielding we'll tell you why.
these 74 selections. Mosaic pl'Csents them on
six LPs/four CDs, with many tracks taken
from IWW disc transfers to give added f you think reissuing e1assic jazz is as easy
clarity. Including 1:3 unissued tracks and as pulling a box off a shelf and pressing
four titles pl'eviously available only on 10- up some records, get a load of what we
inch LPs or 78s. went through wilh tlH~ Art Hodes recordings.
The booklet includes a bio by John First we had to transfel' the original 16-
Chilton, musical analysis by Max Harrison, inch wartime acetates to audiotape.
a full discography, rare photogl'aphs, and Those wel'e compal'ed to transfel's made
Blue NOll" cover >lI't from the '40s. for reissues in 1951, in 1969, and a third set The Complete Art Hodes Blue Note
(In order to be complete in each case, in the '70s. We even transferred 78s we Sessions
could acquire fOl' fUI,thel' study. Limited to 7500 copies worldwide.
Ihis collection includes three selections from
5 LPs [MR5-114] $50
the Port of Harlem LP and seven selections
Painstaking comparisons. 4 CDs [MD4-114] $60
from the Art Hodes set.)
We made painstaking iVB comparisons of
all exisling tapes for every cut, justlo see if
"One of the invaluable series of collections
transfers made 35 years ago wel'e better than
on Mosaic Records."
ours. We'I'e committcd 10 the best even if it
John S. Wilson, The New Yo/,k Times
means throwing out our own wOl·k.
As fOl' the documentation, let's just say "Now [Hosaic restores order with
" ... 1'1 monument, demonstrating that experience has taught us not to believe
every printed word. meticulous completeness and honest
Bechet's consistency and drive in any So how come all the interest in a pianist
sound. "
who I'ecorded before World Wal' Two?
selling" Because Hodes is steeped in three impOl'tant - Alan Bm'gehuhr, Cadence
- Eric Levin, People strains - he's /'r'om Chicago, he plays New
Orleans, and he plays it blues.
MOSAIC RECORDS 11
S TIL L A v A I LAB L E
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"I believe it all comes What drove Alfred Lion?
originally from I-Bone
Walker. And B.B. King
A
n immigrant from Berlin, AUI'ed
Lion was a jazz fan the night he
thinks so too." - Freddie went to John Hammond's
King "Spirituals to Swing" concert in 19:38. Six
days later he was a jazz producer with his
-none \VaJker mayor may not have fil'st record - and he never looked back.
I
n the late ';.30S' die-h.arcl enthusiasts. of
time and jazz. Sidemen include Chadie authenllc New Orleans jazz, like Bill
Chl'istian, Red Nol'vo, Teddy Wilson, Russell and Fl'ederick Ramsey, wel'e
Hal'ry Carney, and Ben WebsteL detemuned to keep the sound alive. When
A festival of styles. they leal'ned that many of the music's eady
Get ready for a festival of New Orleans, authentics were still actively playing in
stt'ide, swing, third stl'eam, and every com- New Odeans, and in vel'y much the same
bination imaginable. Six LPs, 01' fom CDs style as ever, their mission was dear.
include 13 unissued tl'acks, six: available In May 1943, Bill RusselJ supel'Vised the
The Complete Blue Note Recordings of
only on 78s, and most of the l'est scattel'ed George Lewis /'ecol'ding session which, like George Lewis.
across little-known anthologies. Where the ground-breaking 1940 l'ecordings of Bunk Limited to 7500 copies worldwide.
possil)le, the Ol'iginal discs were newly Johnson by Heywood Hale Beoun and the 5 LPs [MR5-132] $45
1942 Jazzmen sides by Bunk with GeOl'ge 3 CDs [MD3-132] $45
transferred for added claeity and pUl'ity.
The booklet includes biographies, musi- Lewis, proved to the world that all the pas-
cal analysis, a detailed discography, l'al'e sion of the New Orleans style had survived 195.5, with four unissued performances and
photographs, and mOl·e. intact. \Vhen Alfred Lion heard some of one issued previously onJy on a lO-inch LP.
the discs, he immediately bought up the The booklet contains a biography of Geol'ge
"Mere words cannot l'cally convey the eights to the entire session, and created a Lewis hy Page Van Vorst, along with a
ovel'all excellence of the jazz music con- new subsidial'y, Climax, to l'e1ease them. complete discography of this set and l'are
tained in this Mosaic set." photographs by Francis Wolff and others.
John Nelson, Mississippi Rag
MOSAIC RECORDS
S TIL L A v A I LAB L E
from way back. helieve that some of this matel'ial was recorded
neady 40 yeal"s ago. It still sounds ft'esh and
vital today."
E
verybody thought Shol·ty Rogel's was
just cutting I'econls of "Cool Jazz" in David Zyeh, JazzTirnes
the eady '50s, But, harmonically, he
was creating a whole language of West
Coast jazz. And, l'hythmically, it swung as
han-l as any jazz 1'1'0111 eithel' coast.
Atlantic signed Shorty in 1954, and the
~~~~~~~~~~
A
rt Peppel' nevel' fully adapted to the Not available on CD.
('xtr'emely important l'ecol,ds into proper, cooled-out West Coast style. His
cohel'ent sequence. The Complete Atlantic ph,'asing was jagged and surprising,
and EM1Jazz Recordings ofShort)' ROBers his leaps between regbters dramatic, his tone •••••••••••••••••••••••••••••
do('s exactly that. It contains the cady
Capitol and Nocturne sides, then the live
fuJI and eieh. You ean point to saxophone "I quit!" - Johnny
forebears with elements of his playing, hut
Atlantic LPs in original recol'l-ling order, A all togethel', they belonged only to him.
Hodges to Duke
total of 54 superb, invaluable tracks. He moved easily between blowing dates Ellington in 1951.
Featured an' Bud Shank, Jinuny Giuffre, and big band charts, wilh solos full 01'
Bill Holman, Conte Candoli, Pete Jolly and
spontaneous feagments that still managed
I
Bamey Kessel, among many others. It's all t was a bold move fOl' the geeat. alto sax-
to I'elate ingeniously, The l'I'al tension of his ophonist, and a blow to the Ellington
annotated and described in the booklet,
work, it seemed, was his firm contl'ol and Orchestra. BUI aftee too many yeal's of
illustrated with William Claxton's pho-
precision balanced hy intense emotion, feeling like a sideman, Johnny Hodges felt
tographs of the Atlantic sessions,
The Complete Pacific Jazz Small Group the time had eorne to go it alone,
Recordings ofArt Pepper introduces a He'd been with Ellington sinee 1928,
number of tracks never lwfore available 01' whpn Duke tit'st heard the young alto saxo-
l'eleased only in edited versions, These per- phone player. At 22, Johnny Hodges had
Ihe ehops, together with a fresh individual
formances were made dUI'ing Art's most
style Ihat made him a prime eandidate for
impor·tant years and include quinlet ses-
solo stardom.
sions with ChN Baker and with tenor
Through the years, Hodges had many
saxophonist Bill Perkins as well as a no net opportunities in the spotlight, hoth on tour
date ananged by Shorty Rogers. and on recordings. He developed a signifi-
The booklet includes an (,ssay hy Michael cant following among jazz fans, . , and by
J ames, photographs of the recording ses- the late '30s, he'd become an important
sions and new discographieal information. innuence, What he didn't have was the
chance to prove himself as a learlel',
Time to move on.
Hodges' solo contraet with N(H'man Gl'anz
" ... captures Pepper'sfertileform in
gave him the oppol'tunity to lead his own,
1956 and 1957, . , aU these recordings tight, seven-man working band, Over the
The Complete Atlantic and EMI Jazz course of the next five years, he would su,'-
Recordings of Shorty Rogers tingle with vitality" muml himself with a galaxy of '50s jazz
Limited to 7500 copies worldwide. geeats, including John Colteane, Jimmy
6 LPs [MR6-125] $60 - Erie Levin, Hamilton, Ben Webster, Flip Phillips, HalTY
4 CDs [MD4-125]$60 Camey, Emmett Berey, Sonny Greel', Billy
People
Strayhorn, AI Sears, and LawI'enee Brown.
N
It was the end of a mini-era, The music
created between 1951 and 1955 hy Johnny for the big-toned, impassioned tenor
Hodges and his "small big hand" was released players from Coleman Hawkins and
briel1y on the Clef and NOl'gran labels, and Ben Webster' on down. Hard bop ancl the
later r'eissued on Ver've. For this release, it cool school were the I'age, Ever'ything else
is being made available in its entirety, touk a backseat.
transfelTed din~<:tly from the Ol'if,rinal master' ] ke Quebec, one of the most souU'ul,
tapes, and chronologically sequerwed. The
melodic, and complete musicians to pick up The Complete Blue Note 45 Sessions of
teacks total 15 complete studio sessions with
the tenor saxophone (see Mosaic's The Ike Quebec
Johnny Hodges and Co, - and a delicious
Complete Blue Note Forties Recordings of Limited to 7500 copies worldwide.
wealth of scaled-down Ellingtonian swing. 3 LPs [MR3-121] $30
The booklet includes a musical analysis Ike Quebec and John Hardee [MR4/MD3-
2 CDs [MD2-121] $30
by Stanley Dance, a biography of Johnny 107]), did not recol'd at all dlll'ing this
Hodges, and rare photographs of his hand period. nut he nevel' stopped playing.
in performance.
Real singles. "These sides provide r'evelation uJJon n've-
But hy 1959, the ul'ban, hlack jukebox cit·- lation of Quebec's completeness as a tenor'
-
I0Il_ _
, . (0MftITt
1ft1-1955
cuit was big .mough to hold blues, H&B, and
jazz. So when Blue Note president, Alfred
Lion, decided to cut some singles - r'eal sin-
gles; 45 RPM r'eeonls with a big hole in them
voice. He shares Coleman Hawkins' and
Ben Webster's commandingly stout tone ...
the exuher'ant shout of Count Basic tenor'
Herschel Evans is herf', too. ****"
- and Ike Quebec's sound hit the jukes, his Peter' Kostakis, Down Beltt
music was again recognized for its strength
and heartl'ending beauty. (Note: very few
recordings were constnlctecl to be l'eIeased
"Qu-ebec was definitely a m.aster of SCtxO-
as singles at that time - most singles were
album cuts with a quick fade-oul.) plwtU! jazz. His tone goes bac,," to the
At a total of three single sessions (1959,
1960, and .1962), Quebec was joined by such classic tenor sOlutd of Coleman
sidemen as Skeeter' Best on g"uitar, Milt
Hawkins, Ben Webster, Herschel
Hinton and Sam Jones on bass, Sir Charles
Thompson on organ, and J. C. ]-Ipanl on Evans, Budd Johnson, wuJ. Buddy
The Complete Johnny Hodges
Recordings 1951-1955 dl'ums. Most of the titks, fl'OJIl thl'Oaty blues
Limited to 7500 copies worldwide, or'iginals to big, bold standal'ds, r'emained Tale, His performances show It cease-
6 LPs [MR6-126] $60 unissued on LP u.ntilnow. Mosaic has taken
Not available on CD. Jessl)' inventive jazznwn. "
the entire output of these tll,'ee ,'ecording
dates and assemble.1 them into a three- - Owen Cordle,
", .. ther'e is no hetter' concentration of Hoe1?;es LPftwo-CD set, The Complete Blue Note 45
Raleigh News and Observer
und"I' one cover than this Mosaic set ... " Sessions of Ike Qu-ebec.
W. Royal Stokes, Jazz Times The booklN contains Quebec's biognl-
phy, a complete updated Bluc Note
"He was, as Ellinl,'1.on said, beyond category. discography, a wond(·J'i'ul essay by Wl"itet'
Hodges played with more self-assurance and tenol' playel' Lm'en Schoenberg, and
than almost any musician I've ever seen." many previously unpublished photogr'aphs
Nat HentofT, The Wall Street Journal of the sessions, taken by F,'ancis WoJft'.
MOSAIC RECORDS 17
S TIL L A v A I LAB L E
T
appeal's 1'0" the very first time. Stanlt~y
His statements to the p~e.ss, ~ueh as Dance captures the histol'y and musical
"the integra ted compositIOn IS the analysis in his knowing liner' notes.
thing, not the solo," had the jazz estabJish~
ment up in arms! Yet today, there can be
no doubt that Stan Kenton's greatest crime "This is of immense mllsi.cal interest..
was being ahf,ad of his time.
Hend.erson Chambers's powerful sOllnd
Stan Kenton: The Complete
One of a kind.
Capitol Recordings of is a revelation and his plunger solo in
Kenton had the wodd of exptTimental, Lig~ the Holman and Russo Charts.
band jazz 11I'actically aU to himself. Perhaps Limited to 7500 copies worldwide. 'Slapstidr' would grace any Ellington
that's why he was always able to altnlet 6 LPs [MR6-136] $60
some of the day's gl'eat musicians, vocalists, 4 CDs [MD4-136] $60 band date. Forty~eight minlltes of
composers and a'Tangcrs into his creative
wodd, ineluding saxophonists Bud Shank, music ofsubstance and character wor~
Lee Konitz and Charlie Mal'iano; tl'llmpetel' "FI'om a technical standpoint, the record~ thy indeed of the now-familiar Mosaic
Conte Candoli; trombonist F"ank Rosolino; ings are as clear as if they were digitally
drummers Mel Lewis and Stan Levey; and recorded this year." prodllctwn stand.ards ofcare, pure
most signirif,antly, writer! arrangers BiU Dayid Steinbe,"g, Albuquerque Journal
Russo and Bill Holman. original sound quality (no equalizing or
From 1950, when Russo joined Kenton, "Kenton ,bd pussess an in(luiring intelligence other hypes), and attention to detail."
until 1963 when Holman ended his associa~ and a love of musicianship, and these sides
tion, these two men were "esponsible for' some are the pick of his legacy." - Bl'ian Dayis,
of Kenton's most swinging and adYentlll'e~ Richard Williams, The Sunday IJldepe,u1ent Jnzz Forum
some recordings, Their charts are invariably
the highlights of Kenton's most productive
years, and their reconlings a,'e the ones
that jazz fans haye long been "equesting
that Mosaic organize, and I'estore to pl:int.
•••••••••••••••••••••••••••••
This 6~LP, 4--CD set contains all 72 wod<s
Swing's top soloists
that Russo and Holman wl'ote andJOI' finally stretch out.
arranged for Kenton, induding Russo's
famous "2:3 Degrees West - 82 Degl'ees t was a little world caught between worlds_
North," and Holman~alTangedstandards
such as "Stella By Starlight" and
"Yesterdays."
Most of tlus music has been unavailable
I The wartime economy and changing
taste forced musicians to explore smaller
units. But bop wasn't the stuff 1'0" guys
used to ensembles and tuxedos. The I"esult,
1'01' many yeaJ's, Some appeared on lO~inch then, was the swingtet, and sessions with more
LPs that were nevel' reissued. Seyeral
solo spaee 1'01' musicians at the height of
recOl'dings appearerl only bl'iefly on their powel'S.
Kenton's own Creative World recol·d label. The Benny Morton arul Jimmy Hamilton
One performance is being released hel"e fOI" Swingt.ets completes the I'escue of Blue Note
the fi"st time. I-ecordings in the idiom. These swing ses~ The Benny Morton and Jimmy Hamilton
A buoklet wl'iuen by authol' Will Blue Note Swingtets
sions fl'om 1945 captul'e the mood of one
Friedwald, reminiscences w,"ilten by Holman generation in the fOl'mat of a newer one. Limited to 7500 copies worldwide.
and Russo and rare photographs round out 1 LP [MR-115] $10
Benny M.orton was a trombonist who could Not available on CD.
this long ovel'due compiJation. belt it out 01' weave subtly, Lion coupled
MOSAIC RECORDS 19
S TIL L A v A I LAB L E
W
at we need here at Mosaic is a new generation of char'ts - model'n,
patmn - someone who will just swinging, high-pl'ecision or'chestnltions
dump bags ofrnoney at the door supplied by a virtual who's-who of modern
and let us put out records like The jazz arranging, induding Quincy Jones,
CornpLete Bllle Note Forties Recordings of Er'nie Wilkins, Frank Foster', Thad Jones,
Ike Qllebec and John Hardee without Benny Cat'tel' and Neail Hefti,
I'egard 1'01' pmfitability. Any applications?
Live all night.
The Complete Blue Note Forties
Full of love and soul. On three occasions during this era, the
Recordings of Ike Quebec and John
Her'e's why we want to keep this music Hardee Basil' Or'chestra was recorded live by pr'o-
alive: For' John .Hanlee, it's that he's a Limited to 5000 copies worldwide, ducel' Teddy Reig. The fil'st was a
gl'eat example of a '40s musician wOl'king 4 LPs [MR4-107] $40 legendar'y night at a disc jockey convention
in New YOl'k - in Camegie Hall one night 3 COs [Mo3-107] $45
in Miami, on May 31, 1959, when the band
and a Bl'onx bar' the next - always shouting began playillg at 1 a.m, and didn't finish
on his horn, fuJJ of love and soul and until well after sunrise. With the help of
to come to LP.!t's about time."
swing, Fol' Ike Quebec, the I'eason's a little guests like Harry "Sweets" Edison and Joe
Bob Porter', JazzTirnes
different: Aecor'ding to Michael, "Ike Williams, the band was wailing. Less than
Quebec has always been one of tbe few half of the results were included on the
"Mosaic cannot be praised too highly for
players who I'eally touches my heart." eight-tune album I'eleased from the session.
,'eissuing this ran~ '40s outplll of two sadly
Both Hal'dee and Quebec came up at a Breakfast, Barb"cue r.tnd Dance.
neglected tenol' men, with Ike Quebec quite
critical time, when swing had swung and
dd'initely proving his place alongside the Basie at Birdland ... and abroad.
bop wasn't hom, Har'dee marked those years
tenor giants of jazz." Two yeal's latel', inJune 19()1, during the
with these sessions including Tiny Grimes,
Brian Davis, Jazz Forllm final two days of a two-week engagement at
Sammy Benskin, plus Sid Catlett, Jimmy
Shidey, Gene Ramey, TI'ummy Young, Bir'dland, the band was confident, tight,
and othel's. and inspired. 0, C. Smith was the band
T
Bellson, suhbing for Sonny Payne on he s.t 01')' hehind the m),th bel,rins in.
drums, gave the hand a speciall<iel<, while March of '47.
Irene Heid and O. C. Sm.ith handled the Bird took an extender! gig at the Hi-De-
vocals. An unfol'gettahle I'ed'ormance of Ro in Los Angel('s with Howard McGhee,
"April in Pari;;" helped mal,e the Rasie in Hampton Hawes, Addison Farmer' and Roy
Sweden alhum a ;;uccess. Portel·. BinI was healthy, having just coml'
out of Camarillo Stat(e .Hospital, ami hp wa;;
Nine albums of unreleased, live Basie. at the peak of his powers. When a saxophone The Complete Dean Benedetti
Mosaic';;12-LP, 8-CD package, The playedamateul' n~eordisl name(1 Dean Recordings of Charlie Parker.
Complete H.oulettl" Live Recordings of Benedeui hean1 hun, hI" was aweslnl('k. Not a Limited Edition.
Count Rasie and His Orchestra (/958- BenedeUi approadwd Bini and asked for 10 LPs [MR10-129] $100
1962) includes cvel'y one of the 2S l.ive 7 CDs [MD7-129] $105
pel'mission to run a dise r<~(:order dUI'ing the
tracks relea,ed by Roulette on Ba;;ip's three sets. Bil'd agL'eed, and Benedetti began! To
live LPs, plus an astonishing 108 previously pl'esel've disc space, Bpnedetli would Slart
thi;; pel'iod, a hiognlph)' ofD"an B(·,nedpui
unissued perform.ances. rn every r'ase the the mach.ine when Birel was soloing, and stop
b), Bob POI·t(~r, a musical analys;;; I,y Pal"kel'
OI'iginal playing onler has heen faithfuUy the machine as soon a, the solo was ovel',
authOl'it)' James Patl'iek, and Phil Schaap's
adhered to. The Miami and Birdland pel'- Benedetti u;;ed a mike, I'laeed l·ight in front
ulInpJete annotated discography of all the
formances have heen lH'wly mixed fl'om the of BinI's instrument, and except 1'01' Bird
music in the S(,t.
nriginalth"ec-track tapes, and the Swedish and the hass directly hehind him, little el;;e
The Complete Df>an Bener/etti Heron/illgs
tl'acks haYt~ heen tl'ansferred directly from was eaptured on disc..
o/Charlie Parker is OUI' 1II'st Mosaic Un!imitl'o
the (wiginal two-tracl, masters. Using this technique, Benedetti n'conled
I'elease. Since we o\\'n, ratlwl'lhan II'ase, tlw
The hooklet include;; a pOI'tl'ait nf the m,arly four hours of concenll'ated BinI solos
l'ights to these reconungs., W('. are not restl'i(·ted
hand and a track-hy-tnl<;k musical analysis ov('!' a two-w(,ek IWl'iod, with the sound
in any way as 10 thf' numhf'r (If sl'ls w(' ..an
by Chris Sheridan, authol' of Count Basie: val'ying from quite poor to fairly gnoel,
makf' available, This histori .. set, as WI',U as
A Rio-Di.scography, and I'are photographs Bil'd's musical ideas, howeve.', are nevel'less
future Mosaic Unlimitt:d sets, will n'main in
fl'Om the el'a. than I..-illiant.
print and available to thp intemational jazz
On to New York. communit), for as long as Mosaic exists,
"Then~'s no nostalgia in nllmlwrs I.ikp. "Li'l
Darlin'" or the Count's tOllchstone "Apl'il Latel' in '47, BinI neturnt'd to New YOI·k
.. , and Benedetti followed, This tim", how- "The 48-pagf' booklet is a mastl'rpiecp of his-
in Pari;;," not a hint of th(e L1nti<fllp., This is
evpr, he had an t'a"'y ll1odell.ape '"eco"dcl'. toriogL'aphy, with Pa "ker's solos II'ansITilwd,
jazz thai IHlI'ns on eneq,y, spiril and inspi-
B,'nedelti taped Bird one night at the Onyx, rare photos, and mieroscopi"ally df'tailed
I'ation, and swings on fr\f'(' vel'. "
and another night at thle Three Deuces essa)'s by Schaap, Porter and Jim PatTi.. k."
Time
(where in one segment. we hear Monk com-
", .. a mOlhedorlp of high-eneq,'y alTangc- ing out of the audience to tear,h Bil'd how to
play "Straight, No Chaser,") The quality of "In. an. art form whose principnl rltar-
ments and gn~at playing. It', also a Il'iumph
of packaging.. " th£' New York n,conlings is quite good, and
acteristic is improvisation, this cache
Newsweek they account fol' fully half of this collection.
These are the Bel1f~detti I'e(~orrlings in of work by one of the genuine giants is
"Featuring mOl'e than eight hOLll'S of music, their' entiret)" and aftl'" fOI"t)' y.'al's of
rumor, speculation and dehat(e, they al'e at in fact something like a previously
most of it previously unreleased, Ihese CD's
offer an unlll'('n~dented look at an ul'ehestra last availahle to the wodrl.
undiscovered trunk of Beet.hoven
in action. The music itself is cxtraonl.inal'y, Everything is t"ansfel'l'ed dil'ectly from
and yet casual." the ol'iginal discs and tapes hy legendary nlanWK ripts, "
Petel' Watl'ous, New York Times engineer Jal;k Towel·s and eo-pl'odllCt'" Phil
Schaap. The 48-page booklet includes musi- - Jack Fullel', Chicago Tribune
ealtl'anseriplion;; by Benedetti and others,
essays by Phil Schaap on Parker's life during
MOSAIC RECORDS 2]
, .
• ON LOCATION orw
......, V_';'
~in~h:I~S~li;vii~~~~~;JIP"""
standard for
capturing jazz 011 recordings. At this live remot ••••
r-""""""-.'-J1lllll 1cI Byrd at 111:&
11,1960, produc
.1Ip, .hlt "
~}itt " ......&~
~th III
•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
Did you design the living room to be (j
udy Van Gelder is the legendary sound engineer whose technical ingenuity
R and lo've of mu.sic forever influenced the way we listen to recorded jazz.
Van Gelder was a practicing optom~t,ist in the late '40s when he set up his
recording studio?
No, not then. It was a nne-floor houst>, hut
there was a nice high ceiJjng in the living
Just, nwdest recording studio in the living room of his par-ents' home in room and it had tittle halJways, and tittle
Hackensack, New Jersey. In that room, he would go on 10 record most of the nooks and crannies going off. It was really
nwjor East Coast jazz artists of the 19.50s, including virtuaUy every session for a nice place to ref:ol"{l in. Made som(' good
Blue Note and Prestige Records as weU as nwny classical dates for Vox and t'{~cords then' on Wcdne~day, which I had
MOSAIC RECORDS 23
Rudy VanGelder interview, continued
that thing sound the way we want it to Hackensack was in July 1959, Iremembel" to be able to use that as a way to make records,
sound - and that's how he would present very c1ear'ly the panic of hl"eaking down
the p!'Ohlem, that studio over there on a Friday and then YOll didn't llse earphones in Hackensack?
setting up here fOl' a session Monday mOI"n- That's exactly l'ight. It's almost as if- if you
I think some musicians don't know what ing. Moving the console, moving the wanted to think of a way to inhibit creativity
they sound like until they hear themselves machines, getting everything )-ight. Oh it in jazz music in the stumo, you would come
011 tape. was a terrible time, but I did it and we up with a multi-track machine, a 24-track
That's right. I beljeve that. And thel-e's I'ecorded Friday in Hackensack and recorder you could overdub on. It's a
nothing really bad about that. It's under- Monday in Englewood Cljffs. machine of mass destl"uction. I mean, what
standable - a tl-umpet player' is th.-ee feet we've been saying is, that in OI'der to make
from where the bell is and 20 feet f!'Om Wlwt was your Jeeling when multi-track a presentable record, a jazz record, eve."y-
wher'e the sound is ('eally cl·eated. recording came along? one has to play together, and they have to
play together at one time. And once you
e1i/mnate that necessity, then you've
lIlt I'm going to do a session and I can choose described a situation where you don't have
to play together, and the musician doesn't
what I want to choose, I will choose a digital have to listen to other musicians. He can
just do ills own thing, and you can ftx it later',
recorder. There's just no question about it. " But if you can't do it later. then while thp
two musicians al'e playing togethel', they
have to listen to each other. They have to.
Let's talkJor a minute about thefeeung Well, in the beginning, I reaUy resisted it. 1grew up listening to scratchy Charlie
that those musicians brought with them Multi-track didn't happen at once. You'l-e Parker records -1 would listen past that
when they call1.e into the room. Is your assulmng that everyone went from one- and I would hear the art and I would be
memory specifu; in terms ojwhat the Jeel- track to 24. It didn't work that way. It happy . .. am I being sold a bill ofgoods
ing was, doing those sessions night after evolved track by track. First one-track, with this digital stuff?
flight? then two-tl-ack, then three-track, then If I'm going to do a session and I can
First of aLI, it wasn't night after mght. It fom,-track, then eight-track, then 16- choose what I want to choose, I will choose
was very often day after day. Not even 50 track, with maybc 12-traek in hetween and a digital recorde ... There's just no ques-
percent of them were done at night. A lot all the val'iations, too. And the mOl-e tion about it.
of them were done on Sunday afternoon. tr-acks you had, and the more you used, the
Alfred and Frank had to run their business less you had to do it right, from the begin- What about the technical criticism ofdigi-
during the week, and they uked to come in ning. And that's the way the recorel tal recording that I've read about, the
Sunday and do theil' sessions. indust.,y is. fJrubletn~ of it feeling unnatural in some
ways?
What was theJeeling of those sessions? What was most exciting to you about Digital recording has been totally reliable
It's not a specifIC feeling, it's more of a gen- multi-track? [01' me. It fll1al.ly does what a tape machme
eral feeung. But I have a recollection that I thought, this is terrific! Now 1 don't have should do - I"eally, just store what you're
what we were doing was important at the to be gr-eat on each date. I can relax. I can putting into it. No analog machine ever
time. It was impOl'tant to the producer-s, it just make sure everything goes right, and made could do that correctly. None. Not
was impol"tant to me. I felt that it was mOI"e then we're going to mix it later and have a even the best, the most expensive, could
important than the politics of the day Or second chalice at everything if I miss all ever do what a pt-opedy designed two-track
anything else that was going on, What we enh"ance of a solo or something Like that - I'm digital machine will do. We'n~ talking
wel-e doing really had a lasting sigmricance, going to be able to fix it later. But it didn't about clarity of sound, clean sound, wide
II"caUy had that impression at the time. work out uke that because musicians were range, beautiful, no noise problems,
just as aware of this as J was, and it ended To me it's made working a pleasure.
When JOlt movedfrom Yoltr parents' house up that they used it for Mfel'ent purposes. It's uke starting aLI over again and being
in Hackensack, to the new stu.dio, it was They wanted to overdub, amI once you- were excited about t.hings, uke being able to play
late in the '50s, is that correct? overdubbing they hali to have eal'phones, back a g,'eat sound to the group right aftet"
I don't have an internal time clock that and everyone had to hear what was on the they've played it, and they can heat· it right
tells me where I am at every moment, but tape, and then a generation of musicians then. Everybody knows it's good, Before
Bob POI'tel" established that the last date in developed that relied on that and expected they go home.
A
~a 196; session for Gr'ant Gr~en's to almost unbelievable celebl-ity. His Roost
falktn About album,featurmg quintet recordings wen' reissued and r'eis-
Larry Young on organ and Elvin sued again, usually in haphazard fashion,
Jones on drums, Alf/'cd Lion heard Young's with atrocious sound.
astounding talent and signcd him to Blue Now, fo" The Complete Recordings oj'
Note "ight away. the Stan Getz Quintet with Jimmy Railey,
Alfred Lion knew. we are including the original Roost studio
The Complete Blue Note Recordings sessions, as well as the g.'eat live session
For the next twelve months Lion kept Larry
of Larry Young.
Young husy recording his Bluc Note solo r:eeOl'ded at Boston's StoryviUe, the qillntet's
Limited to 7500 copies worldwide,
debut album, Into Something, and appear- 9 LPs [MR9-137}$90 final session as a wo,-king unit, l"eeon1cd for
ing as a sideman on two more Gr'ant Green 6 CDs [MD6-137} $90 Verve in 1952, and the quintet's 195;~
albums, Street oIVrearns and I Want to reunion session, recOI'ded fo.- P,'estige
Hold Your Hand. under Jimmy Raney's name, All in all, this
Thcn, in Novcm}>er 1965, Larry Young's is thc Getz to stand the test of timc.
terms of orr:hestration and ensemble,
post-Smith style exploded on Unity, featwmg Our booklet includes a hiogl'aphy of
Throughout the Mosaic box, Young revels
Joe Henderson on tenor, Woody Shaw on Stan Getz and ral'e early pholog,·aphs.
in ensemhle give-and-take."
tnunpct and Elvin Jones on dl'UJ11s. It was the Jon Ga,-elick, The Bostol1 Phoenix
album that wouln changc the sound ann attitude
of jazz organ for aU time, and inspire a strWg of
follow-up alhwns that would clinch YOWlg'S
placc in jazz history as the most inlluentiaJjazz •••••••••••••••••••••••••••••
organist of his generation, and the next. The Stan Getz recordings
The Complete Blue Note Recordings oj' that set him apart from
Larry Young, a 9-LP, 6-CD set, includes
Lany Young's total output for Blue Note.
the herd.
In addition to three albums as a sideman
with G)'ant Green, Young recorded six hen Leste,' Young disciple Stan
albums undel' his own name, fcaturing such
'60s greats as James Spaulding, Lce
Mot'gan, Geo"ge Benson and Eddie Gladden.
W Getz recor'ded "Early Autumn"
with the Woody He"man hand, a
star was born.
1'111' booklet includes a biography by Even as part of thl·~ "Four' B,'others"
Michael Cuscuna, and many previously tenor saxophone al'senal in Herman's
unpublished session photographs by Henl, Getz's fluid tone and rav'ishingly
Francis Wolff. heautiful musical ideas were a singular
delight. In his solos, Getz managed to tr'ans-
The Complete Recordings of the Stan
, . the n~leas(~ of The Complete BLue Note f0l'l11 the lyrical bri.lLancc of Lester Young's
Getz Quintet with Jimmy Raney.
Recordings oj'Larry Young .:an only help playing into a mode,-n, vibr'ant style that Limited to 7500 copies worldwide.
draw rnon~ attention to this daring musi- seemed to touch everyone who heard it. 4 LPs [MR4-131] $40
cian, Young took jazz oq,;an to places 3 CDs [MD3-131] $45
On his own.
Jimmy Smith. feared to tread, Rediscov-
With his creative )Jowers at their peak,
ering Young can b(~ a revelation,"
Stan Getz left Woody Herman and set out on "The cagerl)' anticipated Stan Getz Quintet
Steve Futterman, Rolling Stone
his own, Afte,' a couple of years of fronting r'ecordings, , , an-ived today, It meNs
h.is own qual'tet, he added Jimmy Raney on every expectation - which I must tell you
"Aside fro III taking the instrument another
gwtar, giving the band gI'eater tooal variety. was quite h.igh!"
step into the world of Colt,'ane, Young had
The Stan Getz Quintet, with its gorgeous Dick Bank, Los Angeles, California
an uncommon sense of his instrument in
MOSAIC RECORDS 25
S TIL L A v A I LAB L E
••••••••••••••••••••••••••••• worthwhile alternate takes, there are two poserlarranger and an impeccably tasteful
Grant Green, we later pedormances featuring Sonny Clark, pianist whose entire body of work deserves
much wider recognition,
Ike Quebec, and a Lati.n rhythm section.
hardly knew you. The booklet indudes an essay by Bob Mosaic's set, transferred <lit'ectly from the
Blumenthal and many unpublished session origina I stereo master tapes, contains every-
photographs by Francis Wolff. thing that Freddie Redd recorded for Blue
G
uitarist Grant Green could play the
whole spectnun, from blues with a Note. "pleased and unreleased. Fans of the
backbeat to the modern experiments "Green was a master at hinting at ideas, Shades ~fRedd alhum should note that it
slipping into a blues phrase fot, a seeond, appears here in stet"eo for the first time, along
of LatTy Young. Blue Note recorded Green
only to tail away with a run, Throughollt with two previously unissued alternate takes.
in a vat'iety of funky settings. But for pure
hard bop, nothing matched Green's four the pieces tbet'e's a feeling that Gt"een saw Tina, too.
sessions with Sonny Clark in '61 and '62. music making as an at·t in whi(~h each note Of panicular intet'est to Nlosaie "regulal's"
Unfortunately for the wodd of jazz, these had to make sense," is the fact that in addition to expanding the
magnificent sessions weren't in keeping with Petet' Watt"ous, The New York Times world's view of Freddie Redd, tlus relpase
the soulful image that Blue Note had in mind also adds significantly to the pt'eciously
for Gt'ant Grt'en. So, for nearly 20 yeat's, sparse recorded legacy of Tina Brooks.
they remained unissued in Blue Note's vaults. The booklet eontains an up-to-date hiog-
Then, in the late '70s, news of these
sessions - and a l'eaffirmation of Gl'ant
••••••••••••••••••••••••••••• raphy of Freddie Redd, as told to Will
Thol'llblll"y. Also included at'e the ot'iginal
Green's brilliance - came out. Two Grant
The Connection should
GreenJSonny Clark albums were l'cleased have launched a long
in Japan, followed a few years latet' by two recording career for
others in the U.S.
One of Blue Note's house pianists, Clark Freddie Redd.
had played with the likes of Buddy DeFnmco, Inexplicably, it didn't.
John Coltrane and Dinah Washington. For
the Grant Gt'een sessions, Clark was joined
T
by Sam Jones on bass and Louis Hayes (or, he Connection was an early example
in one case, Art Blakey) on drums. On one of jazz reach,in g, heyont,l its accepted
occasion, Ike Quebec was added to the group. platform in duhs and conee,"t halls.
Now, for the first time, these t'are As the playwright, Jaek GeIbel., coneeived
performances of Grant Gt"een at his purest it, jazz would be used, live oostage, as an
and best, featuring Sonny Clat"k shortly integral par't of the dramatic show, New York
before his death of a heart attack at age 32, pianist/eomposel' Ft'eddie Redd was hired to
are being made available in their entirety, wt'ite and perform the play's inventive, eon-
In addition to everything significant recorded temporal'y scot"e. and when the play beeame
an immediate eult hit, Blue Note signed him. The Complete Blue Note Recordings of
at the four sessions, including several
Freddie Redd and his stage quartet (whieh Freddie Redd
also included Jackie McLean on saxophone) Limited to 7500 copies worldwide.
made their '"ecording debut with The 3 LPs [MR3-124] $30
Connection score. 2 COs [Mo2-124] $30
One strike, you're out. linel' notes to The Connection and Shades 0/
Fot" a time, it seemed that Freddie Redd would Redd, a musical analysis provided hy Ben
have a long recording cal'eer ahead of him. Sidt'an, a complete Freddie Redd discogra-
But the superb follOW-lip album, Shades of phy, and t"are Francis Wolff photographs
Redd, which featured Jackie McLean from the original Blue Note sessions,
together with Paul Chambel's, Louis Hayes.
and Tina Brooks, did not sell very well,' ' "As the incandescent perfot'mances on this
appal"ently due to the vagaries of popular handsome anthology remind us, Redd was a
taste at the time. And Redd's next session, relentlessly swinging piano player ... "
which ineJuded Benny Bailey on trumpet, Jim Millet', Newsweek
wasn't even released. Freddie Redd was
never to record again for BIlle Note. "The colleetion reveals something nobody
A dazz:ling triple play. seems to have noticed before: Redd is on~ of
The Complete Blue Note Recordings of the very best hard bop composers, the equal
Grant Green with Sonny Clark.
Today, Freddie Redd is still pet1ot'ming ...
still known primarily as the man behind The of Horace Silver, fot, example, as well as a
Limited to 7500 copies worldwide. most ingenious pianist."
5 LPs [MR5-133] $50 Connection. But as his complete Blue Note
sessions demonstrate. he is a superb com- John Litweiler, Chicago Tribune
4 COs [Mo4-133] $60
~
e scene aceording to Herbie Nichols,
mances - for the first time on one LP, in who was largely if,'llOred by his peel's, Leonanl Feathet', The L.A, Times
proper order, Included as well are a few the record companies, and the dubs,
relevant alternate takes never before avail- If fame eluded him, inspiration didn't;
ahle with the original masters, pianist and eomposel' Hel'bie Nichols wl'ote
Sidemen include Fats Navarn>, Sonny OVe!" 100 ()["iginal and eomplex jazz compo-
Hollins, Roy Haynes, Max Roaeh, Art sitions (mixed in with poetry, operas,
Taylor, Philly Joe Jones, GeOl'ge Duviviel', theatel' pie!~l's, prose, and dassical music).
Sam Jones, and Paul Chambers. Five LPs,
Imagine Teddy Wilson mingled with
plus a booklet, with a rare reminiscence by
Monk.
Alfnxl Lion, analysis by Mal·k Gar"dner,
To paraphrase A. B, Spdhnan in Four Lives
and F't"ancis Wolff's unpublished pho-
in the Bebop Business, Herbie Nichols'
tographs of the actual sessions. HUJTy. As
piano playing has both Teddy Wilson's ele-
with all Mosaic sets, when this sells out, we
gant clal';ty and a complex melodie/rhythmic
won't press any more,
stnll:turl' as unique as Man k 's.
Sa,Uy, this imml'nse, ol"iginaltalent has a
"The set is imperative and the results -
name few people recognize; he spent a lot of
indispensable. "
his life playing in Dixieland bands. Herbie
Boh Blumenthal, Boston Phoenix
Nichols only l'I'r'OI'ded a few tunes for Savoy,
two lO-ineh LPs and one] 2-ineh LP fOl' The Complete Blue Note Recordings of
"It's good to have this impn~ssive body of
Blue Note, and a final alJlUm for Bethlehem Herbie Nichols
music in one definitive edition."
before he died of leu kemia in ] 963 a t the age Limited to 7500 copies worldwide.
Francis Davis, Phiu1delphia inquirer 5 LPs [MR5-ll8] $45
of '~3. Herbie Nichols' revolutionary music
is filled with swinging melodic lines and 3 CDs [MD3-1l8] $45
~
at's Paul Desmond's own descrip-
ment. Pianist and piano had to gt'l to know
tion of his celebl'ated sound: the sexy,
each othel', Monk, [.eing a compos"r, ('ould
subtle alto, cutting :hrough the
not calTY out even this task without expel'i-
countel' rhythms and affirmative chOl'ds of
menting with chords and melodies. What
the Dave 8mbeck Quartet. Tangible. he played in total p,-ivaey leads to unpn>ct"-
Minimal. Sophisticated. Slt'aight up. dented understanding of this great talent.
Simpatico setting. This set: four LPsltlll'ee CDs, with seven
Now hear' that sound in a vel'y different performances issued hel'e fi"st and several
seltinf!;' Quietet'. Less about contl'asts, others previously hal'd to find, The Pal'is
more about simpatico. Intl'Oducing The date is issued foe the fit"st timt' with COITt'ct
Completc Recordings of the Panl Desmond titles and impl'oved sound. The booklet
Qlwrtet with .lim Hall. includes an essay by Brian Priestley (who
The Complete Recordings of the Paul
Hen>, Desmond's lyrical phl'ascs join Desmond Quartet with Jim Hall was present at the Black Lion date), the
Limited to 7500 copies worldwide. fil'st biography of Monk's last yeal's,
with the swinging pel'fection of Jim Hall,
6 LPs [MR6-120] $60 Monk's last Down Beat intel'view, and rart'
the quit't authol'ity of Modem Jazz Quartet
4 COs [M04-120] $60 photogt·aphs.
dnlmmcl' Connie Kay, and eithel' Pel'cy
Heath, Gene Wright, 01,' Gene Cherico on
bass to create masterful sides, The quat·tet
sounds like they played togetht'l' for yeal's,
though they neve,' played a single live gig. •••••••••••••••••••••••••••••
This is Desmond as lead"r and musical
organizer, whose wit and warmth come
From the end of his
singing through his song ehoiees, his career, Monk's Black Lion
arrangements, and his compositions. masterworks - including
A great six-year studio matchup. a rare glimpse inside
The sessions arc gathen>d chrono1ogieally
into one six-LP/four-CD set, Iwginning with
the nlind of the man.
a 1959 Warllf~I' Bros, album and continu-
iug into 1965 with four morc RCA albums. he yeal's of staying tnle to hiscalling
Included are a rare title that only appeal'ed
on a Playboy Records anthology and 12
previously unissued pel'fonnances from the
T weren't kind to Thelonious Monic By
the late '60s, he was through with CBS
(they wanted an album of Beatles tunes) and
RCA years, perfonned mostly with a contl'ived group
The booklet contains a new essay fl'orn called The Giants of Jazz. It was finan- The Complete Black Lion and Vogue
Desmond's close friend, joumalist Doug ciaUy, but not artistically, rewarding. Recordings of Thelonious Monk
Limited to 7500 copies worldwide,
Ramsey, as well as reprints of some of
Magnificent solos and trios. 4 LPs [MR4-112] $40
Desmond's famed dry prose: "I have won The one high point came during a eerord- 3 COs [M03-112] $45
several prizes as the world's slowest alto
ing session Monk made in London for
player, as well as a speciaL award in 1961, Black Lion on November 15, 1971. Many
for quietness." listeners l'egard them, his finaL l'ecol'dings I
MOSAIC RECORDS ~
I
S TIL L A v A I LAB L E
• • • • • • • • • • • • • • 4.44• • • • • • • • • • • (On sides one and two the cymbals are over- "This is simply a joy, definitive modcrn
"Phantom album" recol'ded, ereating a certain amount of clarinet pail'ing and ample exposure for
distol'Lion Lhat cannot be repaired.) MI'. Clark, one of the finest modern
mystery solved! pianists, "
"lnc1ude(s) his rare True Blue, one of Lhe Robert Palmer, The New York Times
gl'catest albums Blue Note ever released."
H
ere is one that stumped coUeetors for
yeal's. Catalogues listed it - inner Jim MilIcI', Newsweek
sleeve displays pictLII'ed its cover. Yet
no one had ever seen ai' heard the album.
The artist was Harold Floyd "Tina"
Brooks, a fiery tenol' player who appeal"ed •••••••••••••••••••••••••••••
fl-equcntly as a Blue Note sideman, writer, Why is the world ignoring
and an'angeL Buddy DeFranco?
The missing album? Something ealJed
Back to the Tracks - I"econled, designed,
ame three bebop e1arinetists.
sequenced, catalogued, forgotten,
C
edi Taylor may he, in all tbe turbu-
Roy told the bass player, "A lot of the lent history of jazz, the one
young ones fOI'get the basics. They don't individual who has thrown down the
get all the way down into the music. You most (:hallf,nges-I'or PI'ities, for listeners,
did, baby." and 1'01' fellow musicians, The Complete Candid Recordings of
FOlll' LPsltfll'ee CDs include the two
While many in music al'e content to estab- Cecil Taylor and Buell Neidlinger
Mingus Candid albums, seven titles issued
lish a style 1'01' themselves, gain some Limited to 7500 copies worldwide.
only on anthologies, and five maste"pieces 6 LPs [MR6-127] $60
notol"iety, and stick with the shtick, Cecil's
issued fil'st in this set. The booklet includes 4 CDs [MD4-127] $60
cal'eel' has been a constant, uncompromis-
essays, Nat Hentofrs oribrinal tinel' notes,
ing Journey.
and newly discover'ed photogr'aphs.
But there were only hints of where hi~
musical exploration would take him when expanded ensemble th<lt incluclps Billy
#1 (tien) Reissue of the Year
he, Neidlinger, Dennis Chades, and Archie Higgins, Clark Ten-y, RosweU Rudd,
(1986 Down Beat Intemational Critics PoU)
Shepp entered the studio in October 1960 Charles Davis, and Steve Lacy.
"This may be the most valuable item in and January 1961 to make the l"ecol'dings
Historic highlights.
Mosaic's sel'ies to date." that woukl clearly statp his impo,'tance to
the world. Listen fOI- the recording debut of Sonny
Leonal·d Feather', The L.A. Times MUlTay on the previously unissued Taylo"
In the tradition. composition "Numbel' One," And in a
Some listeners al'e r-eminded of EUington, se"ies of ftve takes Oil Ceeil's mastfTl'ul
TIlE COMPLETE
CUD•• RECOIDIKS Of Monk, and Mingus by the harmonies Cecil "Ai,'," heal' how the quartet (with An·},i ...
CHAlliS .. Ileus
was investigating, whieh suggests he had Shepp also making his rlebllt) work thl'ir
alt'eady aligned himself with the most way into the composition 0111" pxperinlPnlal
adventurous musicians in the jazz tradi- step at a time - aU the way thl'ollgh the
tion. But the "hythms wc"e his own brew. master take - and thp.n one tak... Iwyond!
Hints of stride showed up in Cccil's two- The booklet illclucles musical n.,minis-
handed playing style, and Iw had already cencI's by Nat Hl'ntof[ (pmduccr' of Ihe
developed an cal' 1'01' the heavy percussion o,'iginal sessions) plus a musical anaJysis
of Afl'ican lIlusic. CI"ady, he was on his and pel'sonal rec{)Uections by Nt'idlingel'.
way to inventing himsf,lf. AdditionaUy, ther-e's a complete Taylor!
Fl'om a tot<ll of fOUl' days of intensive Neidlinger discography and ran', unpuh-
playing, Candicl r-eleased exact.ly one album Jished photographs.
- The lVorldQjCecil Taylor. Ten yeal'S latel',
in 1971, CBS/Sony in Japan released an aU- "Evel'y note on the [ouI,-CD sP.t The
new album from the second sessions, which Compkte Candid Recordings ojCecil
The Complete Candid Recordings of Taylor and BueU Neidlinger aUfsls to the
were actually led by Neidlinger. Latel' that
Charles Mingus
same yea I', Bamaby in the .5. I'eleased yet IIncompmrnised hriUiance of pianist/com-
Limited to 7500 copies worldwide.
4 LPs [MR4-111] $40 another, all different Cecil Taylor album. poser Taylor,"
3 CDs [MD3-111] $45 RusseU Woessner, Philadelphia Cit} Poper
Three down, three to go,
As obscure and hal'd to find as those three "Thne is alI-eady no doubt what 1989's
albums al'e, a like amount of music from those best reissue witi be."
" ... you pl'obably have the ol'iginal
sessions went totally unissued ... until now. Jules Epstein, Philadelphia Tribnne
albums released on Candid, or the Barnaby
This Mosaic set contains everything o[
reissues, but don'tlet that deter you from
looking into tlus 4~LP/3-CD set on Mosaic. , , merit from the Candid sessions, including
supel"b sound and annotation and five th"ee LPs' worth of tmissued titles and worthy
previously unreleased tl'acks." alternate takes. In addition to the quartet
Chris AJbe"tson, Stereo Review recol-dings, there an~ several tr'acks with an
MOSAIC RECORDS 31
S TIL L A v A I LAB L E
~
e scene aceording to Herbie Nichols,
mances - for the first time on one LP, in who was largely if,'llOred by his peel's, Leonanl Feathet', The L.A, Times
proper order, Included as well are a few the record companies, and the dubs,
relevant alternate takes never before avail- If fame eluded him, inspiration didn't;
ahle with the original masters, pianist and eomposel' Hel'bie Nichols wl'ote
Sidemen include Fats Navarn>, Sonny OVe!" 100 ()["iginal and eomplex jazz compo-
Hollins, Roy Haynes, Max Roaeh, Art sitions (mixed in with poetry, operas,
Taylor, Philly Joe Jones, GeOl'ge Duviviel', theatel' pie!~l's, prose, and dassical music).
Sam Jones, and Paul Chambers. Five LPs,
Imagine Teddy Wilson mingled with
plus a booklet, with a rare reminiscence by
Monk.
Alfnxl Lion, analysis by Mal·k Gar"dner,
To paraphrase A. B, Spdhnan in Four Lives
and F't"ancis Wolff's unpublished pho-
in the Bebop Business, Herbie Nichols'
tographs of the actual sessions. HUJTy. As
piano playing has both Teddy Wilson's ele-
with all Mosaic sets, when this sells out, we
gant clal';ty and a complex melodie/rhythmic
won't press any more,
stnll:turl' as unique as Man k 's.
Sa,Uy, this imml'nse, ol"iginaltalent has a
"The set is imperative and the results -
name few people recognize; he spent a lot of
indispensable. "
his life playing in Dixieland bands. Herbie
Boh Blumenthal, Boston Phoenix
Nichols only l'I'r'OI'ded a few tunes for Savoy,
two lO-ineh LPs and one] 2-ineh LP fOl' The Complete Blue Note Recordings of
"It's good to have this impn~ssive body of
Blue Note, and a final alJlUm for Bethlehem Herbie Nichols
music in one definitive edition."
before he died of leu kemia in ] 963 a t the age Limited to 7500 copies worldwide.
Francis Davis, Phiu1delphia inquirer 5 LPs [MR5-ll8] $45
of '~3. Herbie Nichols' revolutionary music
is filled with swinging melodic lines and 3 CDs [MD3-1l8] $45
~
at's Paul Desmond's own descrip-
ment. Pianist and piano had to gt'l to know
tion of his celebl'ated sound: the sexy,
each othel', Monk, [.eing a compos"r, ('ould
subtle alto, cutting :hrough the
not calTY out even this task without expel'i-
countel' rhythms and affirmative chOl'ds of
menting with chords and melodies. What
the Dave 8mbeck Quartet. Tangible. he played in total p,-ivaey leads to unpn>ct"-
Minimal. Sophisticated. Slt'aight up. dented understanding of this great talent.
Simpatico setting. This set: four LPsltlll'ee CDs, with seven
Now hear' that sound in a vel'y different performances issued hel'e fi"st and several
seltinf!;' Quietet'. Less about contl'asts, others previously hal'd to find, The Pal'is
more about simpatico. Intl'Oducing The date is issued foe the fit"st timt' with COITt'ct
Completc Recordings of the Panl Desmond titles and impl'oved sound. The booklet
Qlwrtet with .lim Hall. includes an essay by Brian Priestley (who
The Complete Recordings of the Paul
Hen>, Desmond's lyrical phl'ascs join Desmond Quartet with Jim Hall was present at the Black Lion date), the
Limited to 7500 copies worldwide. fil'st biography of Monk's last yeal's,
with the swinging pel'fection of Jim Hall,
6 LPs [MR6-120] $60 Monk's last Down Beat intel'view, and rart'
the quit't authol'ity of Modem Jazz Quartet
4 COs [M04-120] $60 photogt·aphs.
dnlmmcl' Connie Kay, and eithel' Pel'cy
Heath, Gene Wright, 01,' Gene Cherico on
bass to create masterful sides, The quat·tet
sounds like they played togetht'l' for yeal's,
though they neve,' played a single live gig. •••••••••••••••••••••••••••••
This is Desmond as lead"r and musical
organizer, whose wit and warmth come
From the end of his
singing through his song ehoiees, his career, Monk's Black Lion
arrangements, and his compositions. masterworks - including
A great six-year studio matchup. a rare glimpse inside
The sessions arc gathen>d chrono1ogieally
into one six-LP/four-CD set, Iwginning with
the nlind of the man.
a 1959 Warllf~I' Bros, album and continu-
iug into 1965 with four morc RCA albums. he yeal's of staying tnle to hiscalling
Included are a rare title that only appeal'ed
on a Playboy Records anthology and 12
previously unissued pel'fonnances from the
T weren't kind to Thelonious Monic By
the late '60s, he was through with CBS
(they wanted an album of Beatles tunes) and
RCA years, perfonned mostly with a contl'ived group
The booklet contains a new essay fl'orn called The Giants of Jazz. It was finan- The Complete Black Lion and Vogue
Desmond's close friend, joumalist Doug ciaUy, but not artistically, rewarding. Recordings of Thelonious Monk
Limited to 7500 copies worldwide,
Ramsey, as well as reprints of some of
Magnificent solos and trios. 4 LPs [MR4-112] $40
Desmond's famed dry prose: "I have won The one high point came during a eerord- 3 COs [M03-112] $45
several prizes as the world's slowest alto
ing session Monk made in London for
player, as well as a speciaL award in 1961, Black Lion on November 15, 1971. Many
for quietness." listeners l'egard them, his finaL l'ecol'dings I
MOSAIC RECORDS ~
I
S TIL L A v A I LAB L E
• • • • • • • • • • • • • • 4.44• • • • • • • • • • • (On sides one and two the cymbals are over- "This is simply a joy, definitive modcrn
"Phantom album" recol'ded, ereating a certain amount of clarinet pail'ing and ample exposure for
distol'Lion Lhat cannot be repaired.) MI'. Clark, one of the finest modern
mystery solved! pianists, "
"lnc1ude(s) his rare True Blue, one of Lhe Robert Palmer, The New York Times
gl'catest albums Blue Note ever released."
H
ere is one that stumped coUeetors for
yeal's. Catalogues listed it - inner Jim MilIcI', Newsweek
sleeve displays pictLII'ed its cover. Yet
no one had ever seen ai' heard the album.
The artist was Harold Floyd "Tina"
Brooks, a fiery tenol' player who appeal"ed •••••••••••••••••••••••••••••
fl-equcntly as a Blue Note sideman, writer, Why is the world ignoring
and an'angeL Buddy DeFranco?
The missing album? Something ealJed
Back to the Tracks - I"econled, designed,
ame three bebop e1arinetists.
sequenced, catalogued, forgotten,
C
edi Taylor may he, in all tbe turbu-
Roy told the bass player, "A lot of the lent history of jazz, the one
young ones fOI'get the basics. They don't individual who has thrown down the
get all the way down into the music. You most (:hallf,nges-I'or PI'ities, for listeners,
did, baby." and 1'01' fellow musicians, The Complete Candid Recordings of
FOlll' LPsltfll'ee CDs include the two
While many in music al'e content to estab- Cecil Taylor and Buell Neidlinger
Mingus Candid albums, seven titles issued
lish a style 1'01' themselves, gain some Limited to 7500 copies worldwide.
only on anthologies, and five maste"pieces 6 LPs [MR6-127] $60
notol"iety, and stick with the shtick, Cecil's
issued fil'st in this set. The booklet includes 4 CDs [MD4-127] $60
cal'eel' has been a constant, uncompromis-
essays, Nat Hentofrs oribrinal tinel' notes,
ing Journey.
and newly discover'ed photogr'aphs.
But there were only hints of where hi~
musical exploration would take him when expanded ensemble th<lt incluclps Billy
#1 (tien) Reissue of the Year
he, Neidlinger, Dennis Chades, and Archie Higgins, Clark Ten-y, RosweU Rudd,
(1986 Down Beat Intemational Critics PoU)
Shepp entered the studio in October 1960 Charles Davis, and Steve Lacy.
"This may be the most valuable item in and January 1961 to make the l"ecol'dings
Historic highlights.
Mosaic's sel'ies to date." that woukl clearly statp his impo,'tance to
the world. Listen fOI- the recording debut of Sonny
Leonal·d Feather', The L.A. Times MUlTay on the previously unissued Taylo"
In the tradition. composition "Numbel' One," And in a
Some listeners al'e r-eminded of EUington, se"ies of ftve takes Oil Ceeil's mastfTl'ul
TIlE COMPLETE
CUD•• RECOIDIKS Of Monk, and Mingus by the harmonies Cecil "Ai,'," heal' how the quartet (with An·},i ...
CHAlliS .. Ileus
was investigating, whieh suggests he had Shepp also making his rlebllt) work thl'ir
alt'eady aligned himself with the most way into the composition 0111" pxperinlPnlal
adventurous musicians in the jazz tradi- step at a time - aU the way thl'ollgh the
tion. But the "hythms wc"e his own brew. master take - and thp.n one tak... Iwyond!
Hints of stride showed up in Cccil's two- The booklet illclucles musical n.,minis-
handed playing style, and Iw had already cencI's by Nat Hl'ntof[ (pmduccr' of Ihe
developed an cal' 1'01' the heavy percussion o,'iginal sessions) plus a musical anaJysis
of Afl'ican lIlusic. CI"ady, he was on his and pel'sonal rec{)Uections by Nt'idlingel'.
way to inventing himsf,lf. AdditionaUy, ther-e's a complete Taylor!
Fl'om a tot<ll of fOUl' days of intensive Neidlinger discography and ran', unpuh-
playing, Candicl r-eleased exact.ly one album Jished photographs.
- The lVorldQjCecil Taylor. Ten yeal'S latel',
in 1971, CBS/Sony in Japan released an aU- "Evel'y note on the [ouI,-CD sP.t The
new album from the second sessions, which Compkte Candid Recordings ojCecil
The Complete Candid Recordings of Taylor and BueU Neidlinger aUfsls to the
were actually led by Neidlinger. Latel' that
Charles Mingus
same yea I', Bamaby in the .5. I'eleased yet IIncompmrnised hriUiance of pianist/com-
Limited to 7500 copies worldwide.
4 LPs [MR4-111] $40 another, all different Cecil Taylor album. poser Taylor,"
3 CDs [MD3-111] $45 RusseU Woessner, Philadelphia Cit} Poper
Three down, three to go,
As obscure and hal'd to find as those three "Thne is alI-eady no doubt what 1989's
albums al'e, a like amount of music from those best reissue witi be."
" ... you pl'obably have the ol'iginal
sessions went totally unissued ... until now. Jules Epstein, Philadelphia Tribnne
albums released on Candid, or the Barnaby
This Mosaic set contains everything o[
reissues, but don'tlet that deter you from
looking into tlus 4~LP/3-CD set on Mosaic. , , merit from the Candid sessions, including
supel"b sound and annotation and five th"ee LPs' worth of tmissued titles and worthy
previously unreleased tl'acks." alternate takes. In addition to the quartet
Chris AJbe"tson, Stereo Review recol-dings, there an~ several tr'acks with an
MOSAIC RECORDS 31
M 0 S A IcE D I T ION S
••••••••••••••••••••••••••••• pmcess, previously employed by Mr. Kelton and Bohby Timmons (Sce page 5.) As Frank
Exhibit Your Passion while working with sueh photogTaphers as WoUf's lens peered through the drmnset,
Ansel Adams, involves a costly ch"mieal Blakey's inrertious joy of playing was neve"
washing process to neutralize all acids, and more evident. Ct'opped and tiuted, this
ow, for the first time, you can see, own photogJ'aph became the cover 1'01' The Big
N
selenium loning to rnhance Ihe photogJ'aph's
and display jazz history in the form of natural tones. Each muscum-worthy, eustom- Beat. Francis Wolff's photograph, nntinted,
limited-edition, museum-quality pro('essrd photographic print is numbe,'pd. joyfully embodies the essence of Art Blak.,y
Francis WoUT photographs. Seeing these images reproduced in this and the spirit of his musie.
Several years ago while we were consulting catalog is no substitute for seeing., and living Edition Limited to :3000 numbe,'ed posters
with Alf"ed Lion ahout Mosaic's impending with, the real thing. Therefore every Mosaic and 50 numbered and authentieall'd custO!ll-
Bud Powell and Herhie Niehols reissues, Lion postr.' and print is sold with an ulll'esh'icted processed photog"aphic prints woddwide.
happpnpd to mention that hp had heen given hy money back gual·antee. Poster price: :5;40
IUs partner, Francis Wolff, thousands of Print p"iee: $500 (only a few left)
WoU"fs never-hefon'-publishe.l photographs of
CAPTURING A COLOSSUS
jazz artists, and would we be inll'rested in
In 1957 Sonny Rollins was busy winding down
some new shots of Powell and Nichols for OUI'
his stint with Max Roach, playing in the Miles
rpleases'! You ,'an imai-9ne what our answpr was.
Davis group, forming his first band as a leader
From that 1l10Illent on we hf~gan U1COll)ol'ating
and recording the four Blue Note albums that
ran' Franc-is Wolff photographs into evel'y Mosaic
would furthpr establish his t'cputation on the
spt of Blue Note material. We enjoyed them
Icnor saxophone. At thp Apt'il 14. ] 957 session
almost as much as finding long-forgotten tracks
for Sonny Rollins Vol. 2, F"ancis Wolff was
in the Bille Note vaults. And we weren't alolle.
somcwhat busy himsplf. Like all Blue Not"
Our custom"l's deeply apl,,'eeiall'd them, too.
sessions of that ("I'a, it look place amongst till'
When Alfred Lion passed away in 1987, his
lamps. microphones, wnctian bLinds '111([ patch
wiJc entrustcd the entire collection to us, Aftel'
cords at Rudy Van Gclder's, wherc Rollins lcd
/Ilw'h thought as to how best to bonor the memory
Thelonious Monk, J. J. Jolmson, Horace Silvpr,
and the art of Francis Wolff, we decided to
Paul Chambers and Al,t Blak.. y into jazz hjslew)'.
"egin offering his most visually powedul and
The p,msive cover shol of Sonny Rollins is
historic.ally important photogTaphs to jazz
un<{uestionahly one of Wolff's mastel'pie.·cs.
coUectorslike ourselves, in high-quality limited
Edition limited to 3000 numlwrcJ posters
.,ditions of pl'ints and postcrs.
and 50 numlwrcd and authenticated custom-
Th,' same care and passion that we put into
Ill'ocpssed photographic prints woddwidc.
our "ccordings has gone into the production of
Postn pri<'P: ;840
IhcS(' photographi.· prints and posters.
Pl'int pricc: %00 (only a few left)
When Francis Wolff captured Art Blakey's
THE POSTER
mood in this 1960 photograph, Blakey was in BLUE NOTE COLTRANE
The paper used for oUl'photograph "eproduction the midstof a session that would become a Shortly 1wfor.. Coltrane signed with P"estige,
pOS«'I' is hcavyw(>ight, Grade #1 coa«>d, classic. That Whole period - with Lee Morgan,
Iw made an oral agl'eemt'nl with Alfre,l Lion to
an'hival ucid-fn'l> stock. Mosaic posters will not Wayne Shorter and Bobby Timmons - is
"c('ord one allHun for Bluc Not", with a modcsl
Yl'UOW 01' dt·'tt··rionlh-· llurillg you I" lif'etirne ... (H· considered one of the best editions on the Jazz
Messengers ever. See page 5 for a complete ou-tlw-spot advance. Tlw rpsnlt was Ilw
.'vcn your grandchildren's lifctinw. The poste,'
description of the boxed set. singulal' Blue Train for thc label. This
image is reproduced using a sIH'('ial scannf'd
bl'illiantly cOIH'piv..d and execuled aUlIlIll. along
(Iuotonc proccss using the colol's black and gl'ay.
with thc ..lassic Francis Wolff photograph uscd
Though IlIon" pxpensive than straight single-
for the cove,', is Ill<' only evid,'nc.' we have of
('0101' reprorlUf:tion, Ihis pnlCess allows rielwr
W'e at'(> pnHld 10 I", in a position 10 make what a Blue Note/Coltrane legacy might have
lights <:lntl shadings., ~i\,jng the photogruphj('.
this very special offe,'ing and we hope that it sounded amI looked ill",. The pholog,'aph. takcll
image more puneh. Ead1 poster in our Iimilf'd
will be the first of St'vpral. Sqtl{o'mbf'l" 15., ] 957 ~ wa~ l"f·Yt'Tf"ly (Topperl for
edition of 3000 is individually numhel'ed.
th .. aUHlm cover and has 'WH'" been shown in
THE JOY OF BLAKEY
THE PRINT its glo,'ious pntin'ty untiJ this offe,·ing.
On March Ii .. 191i0, Art Blakey's recording
For connoisscu,'s of rine photographie art we Edition limit..d to :3000 numlwn'd posters
carcer was riding high. Afll',' some 20 albums
are also offering an extrem..Jy Limited edition of and 50 1ll1l11lwr"d and authenlicated cuslom-
as a leadpr, he went into the studio with onc of
50 pholographie prints, each one individually J)I'ocessed photographie prints woddwide.
the g"eatest "ditions of thl' Jazz M"sseugcrs
processed to archival standards by mastel' Poster price: $40
evel', featuring Lpr MOI'gan. Waylw ShOl'tel'
printer Chuck Kelton. This time-ronsuming SORRY, PRINTS SOLD OUT
MOSAIC RECORDS 33
NOT ICE
- - S
MOSAIC RECORDS 35
:IS ~'1,.j rl)s~ Plan'
069H2
StClllLfon'J, rOlIl"lf''l'riC'1I(
(20:{) :{n·7111
fax: (20:1) :{2:j-:lS26
PACKAGER OF
COLLECTOR'S EDITIONS OF
CLASSIC JAZ2.."
Musician