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Mosaic Records Brochure Number 9

Mosaic Records Brochure Number 9

Ratings: (0)|Views: 2,042|Likes:
Published by Fred Seibert
More here: http://fredalan.org/tagged/mosaic

Mosaic Records
Stamford, CT.

Brochure #9
1993
Written by Alan Goodman & Marty Pekar
Production: Jessica Wolf
Produced by Fred/Alan Inc., NY: http://fredalan.org

Featuring:
Art Blakey
Count Basie
Larry Young
Stan Kenton
Bill Holman
Grant Green
Stan Getz
T-Bone Walker
Charlie Parker
Sidney Bechet
Johnny Hodges
Chet Baker
Art Pepper
Gerry Mulligan
Cecil Taylor
Thelonious Monk
Tina Brooks
Bud Powell
Paul Desmond
Clifford Brown


And the photographs of Francis Wolff
More here: http://fredalan.org/tagged/mosaic

Mosaic Records
Stamford, CT.

Brochure #9
1993
Written by Alan Goodman & Marty Pekar
Production: Jessica Wolf
Produced by Fred/Alan Inc., NY: http://fredalan.org

Featuring:
Art Blakey
Count Basie
Larry Young
Stan Kenton
Bill Holman
Grant Green
Stan Getz
T-Bone Walker
Charlie Parker
Sidney Bechet
Johnny Hodges
Chet Baker
Art Pepper
Gerry Mulligan
Cecil Taylor
Thelonious Monk
Tina Brooks
Bud Powell
Paul Desmond
Clifford Brown


And the photographs of Francis Wolff

More info:

Categories:Types, Brochures
Published by: Fred Seibert on Sep 15, 2010
Copyright:Attribution Non-commercial

Availability:

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08/17/2013

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FI
R
ST
T
HI
NGS
FI
R
ST
2
•••••••••••••••••••••••••••••
Ten
yearsin
the
making.
S
everal
years
ago,whileaccepting
an
Oscar,Maureen
Stapleton
stated,
"I'd
like
to
thank
everyone
I
ever
metinmy
life."Although
I'm
notquiteready
to
do
thesame,
I
dowant
to
thank
everyone
who's
everbought
aMosaiccollection.
It'shard
to
believe,
but
before
1992comes
to
aclose,Mosaicwill
celebrate
its10th
anniversary.And,of
cour'se,
any
onewho
boughtanything
fromusdlll-ing
that
time
helped
togetushel-e.So
thank
you
one
and
all!
We've
comealongway
since
releasingom'firstcollections.
For
three
years,Michael
and
Il'an
theentireoperation
byourselves
out
ofmyhomein
Santa
Monica,California.
The
placewas
quite
ascene,with
canons
of
inventory
piledeverywhel'e,
truckel's
and
lJPSmen
traipsing
about,
the
phone
I'ingingoff
thehook,
European
touristsstopping
by
asking
incredu.lously,
"Is
thisMosaic
Records?!"
and
twosmall
children
playing
fort
between
stacksof
Monks
and
MuLligans.GeneLeesWl'oteapiece
aboutit
in
his
wonderful
Jazzleuer
called"LifeAmong
the
Cartons."
It's
avivid
po"traitof
those
days
whichI
treasu,'e,
Life
without
cartons.
In1985,
we
packedupand
moved
east
to
Stamford,
Connecticut
where,
although
we
had
more
t"oom,wewerestil.lin
my
home
and
Michael
and
I
were
still
doingevery
thingourselves,
The
only
real
diffel'encewasa
very
la'"ge
increase
in
the
numberofcartons,UPSmen,truckers,European
tOUI;stS
and
phone
calls.
AswOl'd
about
usspl"ead,
and
businessgot
beuer,
and
my
marriage
got
worse,
we
eoncluded
unavoidably
that
we
had
tomoveintocommercialfacilities
andhire
astaff.
Three
years
ago,
On
the
Cover.
TIME.A
drummercaptures
it,
propels
it,
defines
it.
And
nonemoreconfidentlythanArt
Blakey,whoseBlue
Note
recordings
arethemselves
little
pieces
of
time.
Blakeymadebandleading
part
of
his
artfonn,
andeachIncarnation
of
the
Jazz
Messengerscreatedhistory,
both
for
themusic
and
the
personnel
that
played
it,
The
complete
recordings
by
the
band
manyconsider
hisfinest
-
the
1960
version
-
arealltogether
on
Mosaic'snewset.
August
1960
photograph
at
the
Jazz
Gallery
by
Francis
Wolff.
we
did
justthat
..
Since
then
we'vecometoyou
fromreal
offIces
and
a
realwarehouse
and
thereare
five
other
peoplehel'eto
talk
to.
Their
namesar'e
Phyllis,
Margaret,Ann,
Scott
and
Lloyd.
These
arebright
peoplewholovemusic
andcare
about
what
they're
doing,which
is
abit
of
anovelty
thesedays.
Alongwithgrowthcomes
change,
and
forme
it's
alwaysabigchangewhen
one
ofour
setssellsout.
The
BlueNote
Monk,
the
GelTyMulligan,
the
AmmonslLewis,
the
Clifford
Brown
and
the
Po.-t
of
Hal"lemcollectionsal'esold
out
now
and
Ifeellike
I've
lostsomeold
anddear
friends.
But
I'm
consoled
and
excitedbyallof
oUI'
newsets-
the
oneswe't'et'e1easing
right
now
and
the
ones
that
might
take
manyyearsto
prepare.
New-from
the
originalwish
list.
Sometimesitactually
takes
ten
years
toget
somethingdone
around
hue.
Both
the
Cole
and
Blakeyeolleetions,which
appear
in
thisb.-ochm'e
forthe
firsttime,wet'e
on
our
originalwishlistwhen
we
dt'eamed
up
thisschemein1982.You
already
know
about
the
Colesetsince
it's
been
outfor
afew
months
now.
It's
wonderful
to
seethis
transcendententertainer
beingrecognized
by
awholenewgene.-ation
of
listenersas
the
inventive
and
influential
keyboardgiant
that
hewas,
And
we
finallyhaveasetby
Art
Blakey,
the
heartbeat
ofBlueNote
Records,
our
spit'itua.lhome.
The
1960
quintet
featuring
Lee
Morgan,Wayne
Shorterand
BobbyTimmons
wasone
of
Blakey'sgreatest,
and
this
is
pure,
classic
hard
hop
at
itsbest.
Putting
out
theWoody
Shawset
is
par
ticularlyexcitingforme,
not
only
becauseWoody
wasa
vel"y
beautiful
player
whodeservesfal'widel'J'ecognition,
but
becauseMichaelwastheoriginalpl"oduce,"
of
thismusic,Woodydefinitelybelongsin
thepantheon
of
gr'eat
tnuopetrnaster'sand
[
hope
the
re-release
of
these
marvelous
sessionswillinc/"caseJlublic
awareness
of
that
fact.Andwe'vegotanother'
great
blues
set
to
add
to
our
T-BoneWalket'
L;oUection.
Each
oftheCandid
sessionsbyOtisSIJann
and
Lghtnin'
Hopkins
is
valuedamongst
their
finest.
That,
andthe
inclusion
of
muchunreleased
matel'ialfrom
both
sessions,makesthisseta
must
forblueslovers.
Fansof
swing
and
stride
solo
piano
willbethrilJcdwiththc
Master
JazzPiano
Seriesbox.Bill
Weilbacher,
the
fan
who
produced
thesesessions,
created
the
sort
ofnUl"turing,
unencumberedalmosphere
in
thestudio
which
inspiredartists
to
go
beyond
the
perfunctOl"y
andreach
below
thesurface.
The
results
are
six
LPs/four
CDsofabsolutelybeautiful
so.lo
pianomusie.
RudyVan
Gelder
speaksout.
We',"e
a.lso
happy
to
bring
yOll
inlhisbrochlu"esome
rat'epublic
commentsby
Rudy
VanGelder,
thebrilliant
recordingenginee.-who
almostsingle-handedly
is
responsible
fOt,
the
waywe
hear
jazz
on
record.The
whole
subjectof
digital
remains
controversialandRudy's
comments
on
this
areof
particular'
intet'est.
For
thefuture,
we've
got
many
projectson
the
dt'awing
hoard,
most
of
which
are
too
embryonic
topublicizehere.
We
mayevenbe
announcing
some
of
them
tenyears
from
now,in2002!
Inthe
next
year,
you
can
look
forward
to
the
Basie
Rouleue
studio
set,
adefmitive
Lennie
Tristano
collection,
and
setsby
Thadand
Mel,Illinois
Jacquet
(finally!)
and
Louis
Annstrong.
And,
asalways,we
appreciate
and
welcome
YOUl'
suggestions
fOl'
future
projects.
Wepromise
to
consider
them
aU,
nomatter
how
many
decadesittakes.
Enjoy
themusic!
CharlieLourie
•••••••••••••••••••••••••••••
"Themostimportantthingyou'redoingismining
the
BlueNotevaults.Neverstopdoing
that."
WoodyShaw
to
MichaelCuscuna.
A
round
twentyyeat'SagoIwasgoingthl'ough
the
Impulsevaults
fOl'
somereseat'ehon
JohnColtrane,and
J
remembet'beingamazed
that
BobThiele,
Colll'ane's
producer,had
ahsolutelynorecol.lection
of
majOI',
major
sessions
that
had
oecuned
asI'ecentlyaseight
years
before.
There
Iwas,looking
for
 
newinfol'mation,
but
instead
I
wOIUld
up
reminding
Thiele
about
a
ton
ofstuff
that
I
had
docwnented,
andthat
he
had
completelyforgotten
about.Today,
I
understand
why,Igrew
up
learning
about
and
treasuring
alot
ofBlue
Note
jazz
and
Atlantic
R&B
,,,
and
whileIcanstill
teU
youwho'son
justabout
every
Below:flRST.
Master
of
the
soprano
saxophoneSidney
Bechetranks
first
in
a
lot
of
categories.
He
was
thefirst
real
giant
on
this
tricky,
demandinginstrument;
he
was
responsible
for
Blue
Note's
firsthit,"Summertime";
and
he's
featured
on
the
Port
of
Hartem
JazzmenLP,
one
of
the
first
of
Mosaic's
re-releases
to
sell
out.
If
youmissed
that
one
don't
pass
upMosaic's
7he
CompleteSlueNote
Recordings
of
Sidney
Bechet.
Photo
graph
of
Pops
Foster,Wild
Bill
Davison
and
Sidney
Bec:het
from
April
1950,
by
Francis
Wolff.
BlueNote
record
between1940
and
1970,Inow
[md
I
have
ahal"dtimeansweringquestions
about
recorddates
that
1
produced!
The
perfect
Mosaicproject.
Mter
aU
these
years,
it
suddenly
occuned
tome
that
my
deep
involvement
with
Woody's
musicwas
what
was
keepingmefrom
I"ealizing
the
pedect
Mosaic
project
wasstal"wgme
rightinthe
face
inthe
fOI"m
ofWoodyShaw'ssubstantialbodyofworkfor
CBS.
When
you
WOl"k
withsomeoneas
dynamic
and
passionate
as
WoodyShaw,
yougetclose
inunexpected
ways.You
share
his
personaltriumphsand
disastel·s.You
hang
around
together,
talking
and
laughing
and
arguing
and
working.Many
ideas
are
exploredand
abandoned
beforeyoufindthe
one
you
Like.
It
can
be
aU-consuming.Going
through
theSony
Music(fol"merlyCBS)vaults
and
l'elisteningtothosesessions
fOI"
thelil'sttime
since
we'd
I'ecorded
them
was
an
amazingexperienceforme.Memories
camerushingbackof
thingswe
triedandsucceeded
at
...
thingswe
had
to
scrap,
,.playerswhosepl"esence
at
particuJal'sessions
I'd
completelyfOI'gotten
about.
For
the
fil"st
timeI
becameawareof
the
histol'icvalue
oftheperformances
thatI'd
actuaUy
partici-
pated
in
...
and
thefeelingwasabitstl"ange.Now
that
the
project
iscomplete
my
only
regret
is
that
WoodyShaw
is
nothere
toseeit.And
I'm
particularlyproud
tohave
played
a
part
in
making
thismusicavailableto
theworld,notonce,
but
twice.Michael
Cuscuna
MOSAICRECORDS
3

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