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This month Mosaic is releasing a set that takes me back to some of the greatest musical experiences of my life.

In the late 1950s I was a music student at the New England Conservatory in Boston, and each year when the Basie band came to town a bunch of fellow students and I would walk over to the State Ballroom, squeeze up against the apron of the stage, and stand mesmerized in front of the band while it roared!

As you might guess, Mosaic's release of The Complete Roulette Live Recordings of Count Basie and His Orchestra (1958-1962) has been a wonderful experience for me. Now, after several unforeseen delays (due to the sheer volume of unreleased material that Michael discovered along the way), I'm happy to report that it's ready at last. I'm also pleased

to announce that the complete Roulette studio recordings by Basic's "Atomic" band is not far behind ... watch for it from Mosaic in 1992.



A big (band) coincidence.

The Basie live set came together, after two years of preparation, just as our Stan Kenton set was ready for release. Strange, the way these things work. Yesterday, there were no big-band sets on Mosaic. Today, two-thirds of our new release is devoted to big bands!

Stan Kenton: The Complete Capitol Recordings of the Holman and Russo Charts is a long overdue compilation that restores to circulation Kenton's greatest recordings from the 19505 and early 1960s. The sound, throughout, is the best these recordings have ever had.

Another Mosaic career deCision.

Among the big bands of the '40s and '50s, Stan Kenton probably achieved the most commercial success during his lifetime. As usual, we're balancing that package with another by an artist who has never received his due, in our opinion. He is the organist Larry Young, and few non -rnusicians are aware that he was the inventive genius on that instrument in the '60s.

There have been other Mosaic causes celebres over the years: Tina Brooks (4 LPs) and Herbie Nichols (5 LPs, 3 CDs), for example. The big difference with Larry

our outright purchase and release of the Dean Benedetti tapes, and our three-volume Commodore series - is partly the result of the bigger customer base that CDs have provided us. Though we have no plans to abandon the LP format, we are continuing to expand our CD ca talo gu e wherever pos sib le. This release, we're adding seven more CD sets to our catalogue - the Basie, the Kenton, the Larry Young, plus four additional CD conversions: The Complete Blue Note Forties Recordings of Ike Quebec and

John Hardee [MD3-107], The Complete Edmond Hall/James P. Johnson/Sidney De Paris/Vic Dickenson Blue Note Sessions

( [MD4-109], The Complete Blue

I. Note Recordings of Sidney Bechet [MD4-110], and The

________ .... Complete Art Hodes Blue Note

Sessions [MD4-114]. Twenty-

five Mosaic sets are now available on CD. For the complete list see page 6.

More 10 come.

Though there seems to be no end to the riches left to be mined in the Blue Note and Pacific Jazz vaults, we are nonetheless in constant negotiations with additional labels and copyright owners for resources that will allow us to expand in several exciting areas in the months and years ahead. Stay tuned.


... MINDING THE STORE: Charlie lourl.e, and Michael CUSCuna al Mosaic Records' headqUarters In sta mtonI, Connecticut Phologfllllh bY Bill Andlrson.

Young is, this package contains a whopping 9 LPs (or 6 CDs)! Why so much music? Because there is that much music, and Mosaic is the label whose re-releases aim to be definitive. Now, at last, an absolute giant whose Blue Note recordings redefined jazz organ playing can be appreciated fully, with a set that puts his music into proper perspective. We're proud to make it available.

Commodore 111- more unissued performances Ihan ever!

The most massive reissue project in jazz history is finally complete. The just-released Commodore Volume I I I includes more unreleased material than either Volume I or Volume II. And a reminder: if you purchased both earlier volumes, you're entitled to a 20% discount on Volume III. (Plus, save an additional $20 by purchasing it now, before October, when our LP prices will, regrettably, have to be raised by $1 per disc.)

Slill more CDs.

Just as CDs gave the recording industry in general a boost, Mosaic CDs have won us many thousands of new customers. Our ability to undertake and follow through on ambitious and expensive projects - such as

... COVER PHOTO: OOIIItBasl1 at .1961 NIWP8I'I Jazz Fesllval. PhOtograph: J. Alper; cOll'l8sr 0I111e Fr. Driggs COllection.

Charlie Lourie

When companies record a liv. e album, they'll tape the artist's complete sets ... often several of them ... from beginning to end. Typically, they wind up with far more material than they can fit on an album. And, what they choose not to use, is not necessarily inferior in any way to what gets included.

A company selecting material for a live album tends to favor new material as the backbone of the whole thing. Excellent performances of already available tunes may not even be considered. And of the material that is considered, there might be two or

three outstanding performances of the same tune from different dates. It's a coin toss as to which one gets released, and which equally fine alternate takes are destined never to see the light of day.

Digging for treasure.

When you're dealing with artists at one of their peak periods, as was true with the Basie band during the Roulette years, a veritable treasure trove of valuable and exciting music might be just sitting in the can. In my first trip to the Roulette vaults, which are now in London, I hoped against hope that this would be the case. But still, I suspected that a lot of material probably didn't survive.

Faced with a seemingly endless row of tape boxes, my very first task was to seek out

y PAUSE fOR llIE CAUSE: Pee Wee Russell (seated on left) wu one olllle legendary jan figures recorded at lIIe peak 01 his powers by MIH lor Commodont Records. Now, Mosaic Records has released the tIIlrd and IInal volume DIlts

monumental compilation Dl1be Complete Commodore Jan Recordings. In tills 1951 pIIoto, Pee Wee had lust reblmed from a hOSGnal s1ay on tile West Coast he was mill at New York's laGuardia AlfllOri by somll oIl11e g_from Condon's: Gene Scllnledel', Bob Case"Bum OrooHn, Eddie Condon, Ralph SUlton, and CIIal1es Peterson. Photogrl!pIIls courtesJ DI Don Pelerson.

what I knew would be the crown jewel in Mosaic's scheduled issue of The Complete Roulette Live Recordings of Count Basie And His Orchestra (1958-1962) - the famous 1961 Birdland sessions.

What I found was only one, lone reel, containing already-released Birdland tracks. I scoured the library, and there was simply nothing else from that historic session.

What a diHerence a day made.

It looked like there wouldn't be any significant Birdland outtakes when I flew home that Sunday. Then, on Monday, I got a phone call from Bob Koester of De1mark Records. In going through a carton of tapes recently purchased from a small west coast label, he had come across a whole batch of Roulette tapes that, he figured, must have gotten accidentally put into the carton. It was Basie at Birdland!

It was only through this unbelievable, lucky coincidence that I was able to retrieve the Birdland tracks, but Basic's great Miami and Stockholm tracks were all right in the vaults ... in greater number, and of greater quality than I'd hoped for.

Nine greal albums you've never heard.

Seven recording dates that originally produced three albums wound up yielding the equivalent of twelve albums. And there's really no dead weight in this collection. It's a wonderful find, and a major addition to the Basie discography, effectively quadrupling his live output from the Roulette years. It also lets us hear some Basie songs from the '50s that this band played live but never put on any album, such as Neal Hefti's "Ours Alone" and Frank Foster's "Discomrnotion."

Meanwhile, back in the studio.

As this is being written I'm working on the Basie studio set, amazed, quite frankly, at the tremendous depth of what's there. Basie released 20 original studio albums for Roulette, in a variety of settings, and the Mosaic set, due in 1992, will have them all, along with untold unreleased gems.


Michael Cuscuna

Twenty ,ears aHer Count Basie was in his prime ... he entered his second prime!

By 1957, twenty years had passed since the heyday of the Count Basie Orchestra,

It's not as if people had counted Basie out altogether. He always led an excellent band and he had remained a vital and popular musician. But his followers still looked back wistfully to the Kansas City days, when Basie was synonymous with big-band fire and swing and his musicians kept it going at all-night jam sessions after the dancers went home.

By 1957, most of the familiar names from the era of Lester Young and Jo Jones had long since left, and the supremacy of the big bands in general had been eclipsed by smaller groups like the Modern Jazz Quartet and the Miles Davis Quintet. The conventional wisdom was that Basie had long since peaked.

Entering the Atomic Age.

The conventional wisdom was wrong. In 1958, COUnt Basic's first album for Roulette Records was released, and The Atomic Mr. Basie set the jazz world on its ear.

Basie's Roulette period (1958-1962), featuring his "Atomic Band," is now considered to be his second great era. Technology had caught up with musicianship and his Roulette albums remain among the finest sounding records of Basic's career.

Out in front, he had assembled some of the most exciting soloists of the day, like Joe Newman, Thad Jones, Frank Wess, Billy Mitchell, Frank Foster, Al Grey and Henry Coker. And at the core was a humming rhythm section led by Freddie Green, Sonny Payne, and Count himself on piano ..

What really gave the new Basie band its signature was a new generation of charts - modern, swinging, high-precision orchestrations supplied by a virtual who's-who of modern jazz arranging, including Quincy Jones, Ernie Wilkins, Frank Foster, Thad Jones, Benny Career and Neal Hefti.

Live all night.

On three occasions during this era, the Basie Orchestra was recorded live by producer Teddy Reig. The first was a legendary night at a disc jockey convention in Miami, on May 31, 1959, when the band began playing at 1 a.m. and didn't finish until well after sunrise. With the help of guests like Harry "Sweets" Edison and Joe Williams, the band was wailing. Less than half of the results were included on the eight-







tune album released from the sessron , Breakfast, Barbecue and Dance.

Basie at Birdland ... and abroad.

Two years later, in June 1961, during the final two days of a two-week engagement at Birdland, the band was confident, tight, and inspired. Brawny- voiced o.c. Smith was the vocalist on many of the tunes, with guest appearances by Jon Hendricks and the inco mp ar a b le Sarah Vaughan. Agai n, a wealth of material was recorded, but only one album released.

Basic's last live sessions for Roulette took place at a club in Stockholm during a relaxed four-day gig in August 1962. Louis Bellson, subbing for Sonny Payne on drums, gave the band a special kick, while Irene Reid and O.c. Smith handled the vocals and the guest soloists were top brass players like Benny Bailey and Ake Persson. An unforgettable performance of "April in Paris" helped make the Basie in Sweden album perhaps the most immediately successful of Basic's Roulette era.

Nine albums 01 unreleased. live Basie.

Mosaic's 12-LP, 8-CD package, The Complete Roulette Live Recordings of Count Basie and His Orchestra (1958- 1962) includes everyone of the 25 live tracks released by Roulette on Basic's three live LPs, plus an astonishing 108 previously unissued performances. In every case the original playing order has been faithfully adhered to. The Miami and Birdland performances have been newly mixed from the original three-track tapes, and the Swedish tracks have been transferred directly from the original two-track masters.

The Complete Roulette Live Recordings of Count Basie and His Orchestra (1958-1962) Limited to 7500 copies worldwide. 12 LPs[MR12-135] $120

8 CDs [MD8-135] $120

D Call and order bv phone: 203/327·7111 10am-5pm (ET) Mondav· Friday or Fax: 2031323·3526 VISA & Maslercard only. please.




The 24 -page booklet includes a portrait of the band and a track-by-track musical analysis by Chris Sheridan, author of Count Basie: A Bio-Discography. Rare photographs from the era round out this remarkable booklet and boxed set.

"The Mosaic catalog is small, but every item is a gem. Handsome detail-packed booklets come with every set and most important, the records are pressed on pure vinyl and transferred from the original or best available source recordings,"

-Patrick E rcolano, Baltimore Evening Sun

A Jazz organist more inlluenced b, John Coltrane than Jimmy Smith? Until 1965 that was unheard 01.

Listening to the early Larry Young __recordings on New Jazz and Prestige Records, you might never have guessed that he was somebody more special than "just another Jimmy Smith disciple."

But at a 1964 session for Grant Green's Talkin' A bout album, featuring Larry Young on organ and Elvin Jones on drums, Alfred Lion heard it right away.

Allred Lion knew.

What Lion heard was an emerging John Coltrane influence. And he was right on target. At that time, Larry Young was regularly hanging around at Coltrane's house, playing and experimenting with Coltrane for hours on end. It was beginning to have an effect on Larry's playing- Lion liked that effect- and Larry Y oun g was signed as a Blue Note artist.

For the next twelve months Lion kept Larry Young busy recording his Blue Note solo debut album, Into Something, and appearing as a sideman on two more Grant Green albums.

Then, in November 1965, Larry Young's

post-Smith style exploded on Unity, featuring Joe Henderson on tenor, Woody Shaw on trumpet and Elvin Jones on drums. It was the album that would change the sound and attitude of jazz organ for all time, and inspire a string of follow-up albums that would clinch Young's place in jazz history as the most influential jazz organist of his generation, and the next.

The Complete Blue Note Recordings of Larry Young, a 9-LP, 6-CD set, includes Larry Young's total output for Blue Note. In addition to three albums as a sideman with Grant Green, Young recorded six albums under his own name, featuring such '60s greats as James Spaulding, Herbert Morgan, Tyrone Washington, Lee Morgan, Eddie Gale, George Benson and Eddie Gladden.

The 20-page booklet includes a musical analysis by Robert Palmer, a biography by Michael Cuscuna, and many previously unpublished session photographs by Francis Wolff.

The Complete Blue Note Recordings of Larry Young.

Limited to 7500 copies worldwide. 9 LPs [MR9-137}$90

6CDs [MD6-137} $90

• Michael Cuscuna:

Jazz Producer of the Year

• Blue Note & Mosaic Records:

1 st and 2nd place, Label of the Year

-down beat magazine

Stan Kenlan waged a oneman war against one dimensional music. Here's evidence that he won.

The music he was making was heresy! His statements to the press, such as "the integrated composition is the thing, not the solo," had the jazz establishment up in arms! Yet today, there can be no doubt that Stan Kenton's greatest crime was being ahead of his time.

Before the concept of fusing jazz with classical with popular music came into fashion, Stan Kenton's diverse musical experiments were, for the most part, misunderstood and underappreciated by the critical community. And, in the beginning, even by his own record label.

Back in 1943, when Capitol Records signed The Stan Kenton Orchestra, they almost certainly had no idea what they were in for. Kenton's solid, competitive big-band sound didn't stray too far from the beaten path ... atfirst.

But later, Kenton's ever-new experiments in Progressive Jazz, his Innovations in Modem Music, his Contemporary Concepts, and his Adventures in Jazz built up a loyal following of spirited musical intellectuals ... and sold tons of records!

One 01 a kind.

In the later 1940s, throughout the 1950s, and into the early 1960s, Stan Kenton appreciation clubs formed and flourished throughout the world. Each new Stan Kenton release became a topic for discussion and analysis. Yet, even at the peak of Kenton's considerable popularity, nobody else came along who did what Kenton did, or who made records that anyone could mistake for the genuine article.

Kenton had the world of experimental, big-band jazz practically all to himself. Perhaps that's why he was always able to attract some of the day's great musicians, vocalists, composers and arrangers into his creative world, including saxophonists Bud Shank, Lee Konitz and Charlie Mariano; trumpeter Conte Candoli; trombonist Frank Rosolino; drummers Mel Lewis and Stan Levey; and most significantly, wri ter/ arrangers Bill Russo and Bill Holman.

From 1950, when Russo joined Kenton, until 1963, when Holman ended his association, these two men were responsible for some of Kenton's most swinging and adventuresome recordings. Their charts are invariably the highlights of Kenton's most productive years, and their recordings are the ones that jazz fans have long been requesting

that Mosaic organize, and restore to print.

This 6-LP, 4-CD set contains all 72 works that Russo and Holman wrote and/or arranged for Kenton, including Russo's famous "23 Degrees West- 82 Degrees North," and Holman-arranged standards such as "Stella By Starlight" and tty esterda ys."

Most of this music has been unavailable for many years. Some appeared on 10-inch LPs that were never reissued. Several recordings appeared only briefly on Kenton's own Creative World record label. One performance is being released here for the first time.

A 36-page booklet, written by author Will Friedwald, reminiscences written by Holman and' Russo, and rare photographs round out this long overdue compilation.

Stan Kenton: The Complete Capitol Recordings of

the Holman and Russo Charts.

Limited to 7500 copies worldwide. 6 LPs [MR6-136} $60

4 CDs [MD4-136} $60




Same Box. Same Booklet. Same Music.

Mosaic CD Sets.

".'th Mosaic CDs it is finally possible .":0 own complete, definitive collections by history's most important jazz artists, with the additional advantages of convenience and superior sound that only compact discs can offer. Our CD sets are produced with all the care and quality that you've come to expect from Mosaic.

Complete wilhout compromise - you sacrifice nothing.

Mosaic CD buyers get exactly the same music as in our critically acclaimed, deluxe LP sets. With the exact same informative booklet (not a scaled-down CD pamphlet). In the same sturdy library box. With the same limitededition collectibiliry. And, since there are fewer CDs than LPs in a given set, our CD sets come at a price that's very close to or, in some cases, exactly the same as the LP equivalents.

Very limited editions.

Mosaic releases have always been limited editions. Currently, both LP sets and CD sets count equally toward the ultimate production run. We have not upped our quotas in any way to allow for the additional demand caused by the CD release of a given set.

Mosaic LP sets. Alive and weill

Despite our move into CDs, Mosaic has no intention of discontinuing LPs. Mosaic has no plans to release anything on CD without also making it available on LP.

This commitment sets us apart from many record companies. But the one trend we are no longer able to buck is the rising costs we have had to absorb from several of our suppliers, including printers and manufacturers.

For now, Mosaic LP prices will stay put at $9 per LP, with the exception of the new releases announced in this brochure. They are being introduced at $10 per LP. As of October 1st, 1991, however, all Mosaic LP collections will be priced at $10 per LP. This will be our first price increase in five years. We hope that our customers will understand ... and that LP collectors will take advantage of this one last chance to pick up Mosaic LP sets at the old price.

"As I was filling out the order last night, a couple of friends stopped in. One said, 'It must be nice to have a hundred and seventy bucks to blow on CDs.' I told her, 'Well, first of all, I'm not blowing it, and second - I don't have it."

Marty Corcoran, West Chester, Pennsylvania




The Complete List of Mosaic Record Sets on CD.

You can find a complete description of each set on the page indicated in brackets.

Seven New MosaiC CD Sets:

• The Complete Roulette Live Recordings of Count Basie And His Orchestra (1958-1962) MDS-135 [page 4J

• Stan Kenton: The Complete Capitol Recordings of the Holman and Russo Charts MD4-136 [page 5J

• The Complete Blue Note Recordings of Larry Young MD6-137 [pages 4-5]



• The Complete Edmond Hall/] ames P.

Johnson/Sidney De Paris/Vic Dickenson Blue Note Sessions

MD4-109 [page 14]

• The Complete Blue Note Art Hodes Sessions MD4-114 [page 18J

• The Complete Blue Note Recordings of Sidney Bechet MD4-11 0 [page 15J

• The Complete Blue Note Forties Recordings of Ike Quebec and John Hardee MD3-107 [page 25]

Still Available on CD

• The Complete Blue Note Recordings of Grant Green with Sonny Clark MD4-133 [page l1J

• The Complete Blue Note Recordings of George Lewis MD3~132 [page 13J

• The Complete Recordings of the Stan Getz Quintet with Jimmy Raney MD3~131 (page 11J

• The Complete Recordings of T-Bone Walker 1940-1954 MD6~130 [page 12]

• The Complete Dean Benedetti Recordings of Charlie Parker MD7-129 [pages 12-13)

• The Complete Candid Recordings of Cecil Taylor and Buell Neidlinger MD4-127 [page 21]

• The Complete Atlantic and EMI Jazz Recordings of Shorty Rogers MD4-125 [page 19]

• The Complete Blue Note Recordings of Freddie Redd MD2-124 [page 26]

• The Complete Pacific Jazz Studio Recordings of the Chet Baker Quartet with Russ Freeman MD3-122

[page 20J

• The Complete Blue Note 45 Sessions of Ike Quebec MD2-121 [page 16]

• The Complete Recordings of the Paul Desmond Quartet with Jim Hall MD4-120 [pages 28-29]

• The Complete Blue Note Recordings of Herbie Nichols MD3-11S [pages 26-27]

r!!II Call and order by phone: 203/327 -7111 10am-5pm (Ell Monday~ Friday or Fax: 203/323-3526 VISA & Mastercard only, please.

• The Complete Verve Recordings of the Buddy DeFranco Quartet/Quintet with Sonny Clark MD4-117 [page 29J

• The Complete Pacific Jazz Live Recordings of the Chet Baker Quartet with Russ Freeman MD3-113 [page 18J

• The Complete Black Lion and Vogue Recordings of Thelonious Monk MD3-112 [page 27]

• The Complete Candid Recordings of Charles Mingus MD3-111 [pages 20-21]

• The Complete Pacific Jazz and Capitol Recordings of the Original Gerry Mulligan Quartet and Tentette with Chet Baker MD3-102 [page 20J

(Less than 500 remaining)

"the sound engineering of the 32 Mosaic discs I have heard suggests an audio miracle has taken place ... " Wayne Thompson,

The Oregonian

.. PURE BOP SETTJHG: Guitarist Grant Green, whose comple1e Blue Hote recordings wllb SOII1' Cln are alallable In bOlll CD and LP boxed sets Irom Mosaic. Phorograph by Francis wom.



Almost Sold Out.

The Complete Commodore Jazz Recordings, Volume I.

Mosaic's first volume of The Complete Commodore Jazz Recordings received five stars in down beat, two Grammy nominations, and extravagant praise in everything from JazzTimes to National Review.

Spanning 1938-1943, Volume I features some of the most valued recordings by such artists as; Lester Young, Billie Holiday, Chu Berry, Jelly




as much of it as he could get for his Commodore label.

During the next 14 months Commodore Records would record and release as much great music as it had in its first five years, combined!

• In Volume II you'll get 340 recordings made during that historic time on 23 LPs. Included are dozens of "Commodore landmarks" featuring Billie Holiday, Lester Young, Ben Webster, Zoot Sims, Red McKenzie, Hot Lips Page, Bobby Hackett and Ed Hall with Teddy Wilson, all sounding better than you've ever heard them. Plus, there are surprises around every turn, with never-before-released alternate takes and newly discovered tracks by Albert Ammons, the DeParis Brothers, Jess Stacy,

The Complete Commodore Jazz Recordings, Volume I.

Limited to 2500 copies worldwide. 23 LPs [MR23-123] $207

Less than 150 remaining as of April 1991.

Please note special shipping charges on order form.

Not available on CD.

Roll Monon, Willie The Lion Smith, Coleman Hawkins, Mel Powell, and a host ot others.

"Can the Mosaic folks top this act? Yes, but only with Volume II and III. They're doing the job none of the conglomerates could or would touch."

Alan Bargebuhr, Cadence

The Complete Commodore Jazz Recordings, Volume II.

In The Complete Commodore Jazz Recordings, Volume II, Mosaic Records takes you back to an era when a record store could thrive selling jazz.

It was 1944 through early 1945, and the Commodore Record Shop, together with the record label that it spawned, was smoking! The war was winding down, and shellac was becoming more readily available. A recording ban imposed on the industry by the American Federation of Musicians was lifted, and suddenly years of pent-up creativity began finding its way onto disc. In New York, Milt Gabler was there to capture

The Complete Commodore Jazz Recordings, Volume II Limited to 2500 copies worldwide.

23 LPs [MR23-128] $207

Less than 1000 remaining as of April 1991.

Please note special shipping charges on order form. Not available on CD.


III Call and order by phone: 203/327 -7111 10am-5pm (ET) MondayFriday or Fax: 203/323-3526 VISA & Mastercard only, please.

Sid Catlett, Jack Teagarden, Joe Bushkin, Pee Wee Russell, Eddie Haywood, George Zack, and many others.

• 340 recordings on 23 LPs.

• 48-page booklet contains Part II of The Commodore Story by Milt Gabler, sessionby-session notes by Dan Morgenstern, rare photographs, and a thoroughly researched discography.

• Edition limited to 2500 copies worldwide.

"*****" down beat

"Mosaic has once again compiled an historic and cultural document of monumental significance. "

W. Royal Stokes, Jazz Times

"One would have to thumb through the dictionary of circus hype for words like 'stupendous' and 'colossal' to find adjectives adequate to describe the second volume of the complete Commodore recordings ... To say volume two is the equal of volume one is very high praise indeed, and so it is."

Bob Hilbert, Joslin's Jazz JournaL

"Volume II ... testifies to the inventiveness of Russell, Spanier, Davison and the other Condonites, and also contains brilliant work from Holiday, Page, Sid Catlett (with Ben Webster), Edmond Hall and Teddy Wilson ... new ideas can be heard on nearly every alternate take."

Bob Blumenthal, Boston GLobe

"The Commodores are wonderful! Both, but especially number two is a kind of monument to the memory of Pee Wee Russell. How that man could play. But it isn't too bad either to get new takes with James P., Jack Teagarden and Hot Lips Page!! I can hardly wait for number three." Nils-Gunnar Anderby, Stockholm, Sweden


And now ...

The Complete Commodore Jazz Recordings, Volume III.

Volume III in Mosaic Records' unprecedented Limited Edition release of The Complete Commodore Jazz Recordings includes all the last 78s, all the 10- inch and 12-inch LPs, important addenda to both previous volumes, plus a wealth of previously unissued material by Billie Holiday, Bud Freeman, Jonah Jones, Ralph Sutton, Frank Wess, Mel Powell, Wild Bill Davison, Peck Kelley, Eddie Edwards' Original Dixieland Jazz Band, and others,

You were there ...

The years were 1945 through 1957 and technology was on a rampage. America was going through postwar changes that would set the tone for the rest of the century.

The advent of the tape recorder in the late '40s opened up a Pandora's box filled with gimmicks, special effects, and easily attainable perfection. Recorded music had lost its innocence and it would never be the same agam.

Still, the Commodore label remained steadfast in its dedication to the music, and to the musicians, that typified 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.


Highlights of Volume III Include:

• Newly discovered alternate takes by Bud Freeman and his Gang in 1938, and by Billie Holiday in 1944.

• The real master takes on Chu Berry's "Blowin' Up a Breeze" and "Monday at Minton's."

• Commodore's 1945 Town Hall all-star extravaganza in the best sound ever, featuring Red N orvo and His Orchestra with Shorty Rogers, Flip Phillips, Eddie Bert, Teddy Wilson, Remo Palmieri, Slam Stewart and Specs Powell; Bill Coleman, featuring Billy Taylor on piano; Gene Krupa with Charlie Ventura; the Stuff Smith Trio, with Billy Taylor and Ted Sturgis; Teddy Wilson fronting members of the Red Norvo ensemble; Don Byas and Slam Stewart.

• Serious jazz by Jonah Jones, with Ike Quebec, Tyree Glenn, Hilton Jefferson, Milt Hinton, and].C. Heard.

• Commodore mainstay Wild Bill Davison


in session with his Commodores; George Brunies; Eddie Edwards and his Original Dixieland Jazz Band; Sidney Bechet.

• Mel Powell's only big-band recordings.

• Encores and more by Willie The Lion Smith.

• Ralph Sutton interprets Bix.

• The authentic ew Orleans sound of Johnny Wiggs.

• Commodore's excursion into modern jazz with Frank Wess.

• Peck Kelley recorded at last.

• 246 recordings on 20 LPs.

• 48-page booklet contains Part III of The Commodore Story by Milt Gabler, sessionby-session notes by Dan Morgenstern, and rare photographs.

• Special 68-page beginning-to-end discography of Commodore jazz. Published for the first time ... a $25 value.

• Edition limited to 2500 copies worldwide.

The Complete Commodore Jazz Recordings, Volume III Limited to 2500 copies worldwide.

20 LPs [MR20-134} $180

Please note special shipping charges on order form.

Not available on CD.

"I've had offers to produce. And I said, I've got to get my stuff out again. Then maybe I'll produce. But at my age, where am I going to find a Billie Holiday or a Pee Wee Russell? I enjoy going to concerts ... I hear the new guys ... blowing their brains out and playing their hearts ou t. Occas io nally you hear something fabulous, but it doesn't top what we had ... it was a time that may never come back." Milt Gabler

Call and order by phone: 203/327 -7111 10am-5pm (ET) Mondav- .,..

Fridav or Fax: 203/323·3526 VISA & Mastercard onlv. please. m.a





Thank you for writing us. We get lots of letters and we read everyone. If you're moved to write, we're especially interested in your comments on the music in our sets. And we always welcome your suggestions for future releases.

Because we think what you have to say is important and should be shared with other jazz fans, we may decide to publish your letters in upcoming Mosaic brochures. So don't be surprised if sometime soon you see a little bit or all of what you have to say in print. Of course, if you don't want to be quoted, just let us know.

We look forward to hearing from you.

Charlie Lourie Michael Cuscuna

The 201h brings good luck

I have just ordered my 19th Mosaic release. Doesn't this entitle me to a free item? A trophy? A plaque?

You mean I have to be satisfied with listening to them? Okay, you drive a hard bargain ...

John B. Henry, Glen Echo, MD

Lunar tunes

I don't know which of my jazz friends gave you my address, but I'm over the moon that they did!!

Liz McColl, Harbord, Australia

En fran~ais

Bravo pour votre FANTASTIQUE travail!

Bernard Pichon, Osmoy, France

On the up-and-up

One of the nice things you do is replace defective records without a hassle, so that I don't have to feel like a thief for complaining. Thank you.

Allen Kahn, Flossmoor, I L

Heart and mind

Thank you for doing such a wonderful job of getting this beautiful music back to the people. I would be hard pressed to pick a favorite from among the sets I've bought. Perhaps the Ike Quebec, because his tenor playing speaks directly to my heart, or the Herbie Nichols, which dances in my mind like Bach. Anyway, each box is a treasure and I am very grateful.

Wayne Kirton, North Vancouver, B.C

Radio beacon

At last! Your new catalogue! Phew, sighs of relief, wiping sweat of brow, no more tranquilizer pills. I thought that you'd forgotten me, or worse still, that you'd gone broke (shudder!).

As a jazz presenter on our local radio station, I'm playing your records to death; all that wonderful Becher, Edmond Hall, Art Hodes stuff. And not to forget the incredible Commodore albums - what would I do


without them? It's so nice to be able to pull yet another alternate, previously unpublished take out of the hat; the listeners absolutely love it. Please stay in business and keep on doing what you are doing. The jazz world is richer because you are there.

Jaap I de Haan, Colo Vale, Australia

Tiresome debate

I would like to thank you for all your great work. My current order for 10 sets reflects how much I enjoyed the first eight I received. I have discovered artists and music that will make most of today's anemic practitioners fade into the obscurity they so richly deserve.

I would like to add a comment. I am tired of the vinyl-CD debate. CD is a convenient format, and is arguably superior on two measures: dynamic range and surface noise. The only problem is that listening to a properly cared-for LP played on a state-ofthe-an turn ta ble reveals the current generation of CDs and players to be toys.

At any rate, you do not have to engage in this deba teo You offer a choice: that is all those of us who prefer the sound of music ask.

Charles Huber, San Antonio, TX

Jazz crusader

Six years ago I didn't know the difference between Dave Grusin and Duke Ellington. What began as a specific curiosity about a single ~acet o~ jazz has become an allconsummg passron.

When I first listened to a few bootleg jazz tapes (thanks to the G.I.'s here) I was floored, and immediately thought, "Where has this been all my life?!" My pilgrimage had begun.

As it turned out, there was music before the Beatles, But why had no one told me about it? I'm no longer a pilgrim, but a crusader, and a fairly lonely one sometimes.

But what a joy to know that there are others who understand and love the greatest music of this century, or perhaps any, and that they know where to turn for sustenance ... Mosaic.

Paul Wicht, Seoul, South Korea

Credit where it's due

Mosaic deserves the thanks of the jazz community for reissuing George Lewis's Blue Note recordings, which are among the finest achievements of the New Orleans revival. It is too bad that the quality of the announcement in your last catalogue does not match the quality of what is being described.

The blurb gets off on the wrong foot in its very first paragraph, and gets even worse after that. Where, to begin with, did the idea that "jazz grew more and more sophisticated in the later 1930s and early

1940s" come from? The music the Count Basie band was playing in the late '305 wasn't more sophisticated than what the New York school around Red Nichols and Miff Mole were doing in the late '20s - melodically, harmonically, and with regard to instrumental technique. In fact, much of the appeal of Kansas City jazz in general was in its immediacy and accessibility.

As for the jazz audience growing "more and more sophisticated," I don't believe anyone really knows. What can be said is that Bill Russell - who recorded the 1943 George Lewis session which Blue Note issued on the Climax label, and was as influential as any critic the New Orleans "die-hards" read - was a conservatory-trained composer. His famous articles on boogie woogie employed the same tools of musical analysis, including annotated examples, that Gunther Schuller and Max Harrison would use 30 and 40 years later.

As for your assertion that Bill Russell and Fred Ramsey "made a field trip early in 1943 in order to track down several of the legends of New Orleans jazz," (i) they didn't, and (ii) such trips were being made several years earlier. What is true is that in the course of writing and editing Jazzmen they corresponded with Bunk Johnson as early as 1938. The first actual records of legendary New Orleans musicians "who had never been heard outside that town" were made in 1940 by Heywood Hale Broun, who recorded a band which included Jim Robinson on trombone and Big Eye Louis Nelson and Alphonse Picou on clarinets. Dave Stuart of the Jazzmen Record Shop in Los Angeles traveled to New Orleans early in 1942 to record Bunk Johnson for his Jazzmen label, with a band that included George Lewis and Jim Robinson; later that year Gene Williams recorded Johnson for his Jazz Information label, again with George Lewis.

Jerome S. Shipman, Potomac, MD


Thanks to the Commodore I and Blue Note Jazzmen albums, I can be transported back 45 years to Chicago and Eddie Condon's joint in New York. Myoid records have been pretty well retired for the excellent rernastered discs you have produced.

David O. Ward, Toledo, OH

Quality throughout

It's a mark of greatness the way you present this material and accompany each set with beautifully laid-out pamphlets. Even your brochure is an example of dedication to quality. You put most other record companies to shame. Congratulations. Michael Geragoteles, Windham, CT



The Sian Gelz recordings Ihalsel.h.i.m apan

from the herd.

When Lester Young disciple Stan. Getz recorded "Early Autumn" with the Woody Herman band, a star was born.

Even as part of the "Four Brothers" tenor saxophone arsenal in Herman's Herd, Getz 's fluid tone and ravishingly beautiful musical ideas were a singular delight. In his solos, Gerz managed to transform the lyrical brilliance of Lester Young's playing into a modern, vibrant style that seemed to touch everyone who heard it.

On his own

With his creative powers at their peak, Stan Getz left Woody Herman and set out on his own. After a couple of years of fronting his own quartet, he added Jimmy Raney on guitar, giving the band greater tonal variety.

The Stan Getz Quintet, with its gorgeous blend of Getz's tenor and Raney's guitar playing in tandem, was a sound that was unique in jazz. It was almost as if Getz and Raney breathed together. The piano chair was initially filled by Getz discovery Horace Silver, then Al Haig, and, finally, Duke Jordan.

A decade later, Stan Getz had moved on to almost unbelievable celebrity. His Roost quintet recordings were reissued and reissued again, usually in haphazard fashion, with atrocious sound.

The Complete Recordings of the Stan Getz Quintet with Jimmy Raney. Limited to 7500 copies worldwide.

4 LPs[MR4-131] $36

3 CDs [MD3-131] $45

Now, for The Complete Recordings of the Stan Getz Quintet with Jimmy Raney, we are including the original Roost studio sessions, as well as the great live session recorded at Boston's Storyville, the quintet's final session as a working unit, recorded for Verve in 1952, and the quintet's 1953 reunion session, recorded for Prestige under Jimmy Raney's name. All in all, this is the Getz to stand the test of time.

Our 12-page booklet includes a biography of Stan Getz, a complete discography, and rare early photographs.

"The eagerly anticipated Stan Getz Quintet recordings ... arrived today. It meets every expectation - which I must tell you was quite high!"

Dick Bank, Los Angeles, California

II The Getz/ Raney tracks sound as fresh and inventive as if recorded yesterday rather than 40 years ago." -Owen McNally,

Hartford Courant

"Yes, this was and still is

. "

great, great Jazz.

-R. C. Smith,

Durham Morning Herald

Grant Green,we hardly knew you.

Guitarist Grant. Green could pla~ the whole spectrum, from blues With a backbeat to the modern experiments of Larry Young. Blue Note recorded Green in a variety of funky settings. But for pure hard bop, nothing matched Green's four sessions with Sonny Clark in '61 and '62.

Unfortunately for the world of jazz, these magnificent sessions weren't in keeping with

the soulful image that Blue Note had in mind for Grant Green. So, for nearly 20 years, they remained unissued in Blue Note's vaults.

Then, in the late '70s, news of these sessions ~ and a reaffirmation of Grant Green's brilliance - came out. Two Grant Green/Sonny Clark albums were released in Japan, followed a few years later by two others in the U.S.

One of Blue Note's house pianists, Clark had played with the likes of Bu.ddy DeFranco, John Coltrane and Dinah Washington. For the Grant Green sessions, Clark was joined by Sam Jones on bass and Louis Hayes (or, in one case, Art Blakey) on drums. On one occasion, Ike Quebec was added to the group.

Now, for the first time, these rare performances of Grant Green at his purest and best, featuring Sonny Clark shorcly before his death of a heart attack at age 32, are being made available in their entirety. In addition to everything significant recorded at the four se ss io ns , including several worthwhile alternate takes, there are two later performances featuring Sonny Clark, Ike Quebec, and a Latin rhythm section.

The 12~page booklet includes an essay by Bob Blumenthal and many unpublished session photographs by Francis Wolff.

"Green was a master at hinting at ideas, slipping into a blues phrase for a second, only to tail away with a run. Throughout the pieces there's a feeling that Green saw music making as an art in which each note had to make sense."

Peter Watrous, The New York Times

The Complete Blue Note Recordings of Grant Green with Sonny Clark.

Limited to 7500 copies worldwide. 5 LPs [MR5-133} $45

4 CDs [MD4~133] $60

Call and order by phone: 203/327 -7111 10am-5pm (ET) Mondav- m Fridav or fax: 203/323-3526 VISA & Mastercard onlv. ptease.



"I believe it all comes originallv Irom I-Bone Walker. And B.B. King thinks so 100." - Freddie King

T-Bone Walker mayor may not have been the first blues man ever to rig up an electric guitar. But there's little doubt that he was the first to figure out what to do with it.

If anyone was born to sing and play the blues, it was T -Bone. His mother was an amateur blues singer in Dallas, and their home was a well-known stopping-off point for visiting bluesmen, such as Blind Lemon Jefferson.

When T -Bone was 10 years old, he convinced his mother to buy him a guitar, and it didn't take long before he was playing like an old master. By the time he was in his teens he was lying about his age, getting gigs with some of the top swing bands of the '30s.

Electrifying the blues.

It was virtually impossible for an acoustic guitar to be heard above the early big bands. T -Bone Walker solved the problem by perfecting an electrified guitar, as well as a sound and a playing style to go with it.

In 1942, with the Freddie Slack Band, TBone Walker recorded the seminal "Mean Old World" b/w "1 Got A Break Baby" for Capitol. By 1946, T-Bone was in his prime, recording 48 jazz-tinged electric blues classics for the Los Angeles-based Black & White label. These sides gained T -Bone national exposure, and taught a whole generation of blues guitarists how it should be done.

By the mid-'SOs, after years of success on Imperial Records, T -Bone was hearing his style imitated by bluesmen, R&B musicians, and eventually rock & rollers from coast to coast.

All the recordings that started it all

Today, T-Bone Walker is acknowledged by all to be the true father of the electric blues. But while sorn e of the songs he wrote live on in the repertoires of thousands of artists ("Stormy Monday," ''I'll Always Be In Love With You"), the vast majority of T -Bone's original recordings have, until now, been incredibly difficult to come by.

The Mosaic set includes all 144 tracks recorded by T-Bone Walker as a leader during his most influential years.

The 16-page booklet includes an essay by the noted T-Bone biographer, Helen Oakley Dance, a complete discography of everything in this set, and rare photographs.

"Among the very best box sets released in the past decade ... extraordinary ... "

Mike Joyce, The Washington Post

"There's simply no way to fully express just how exciting and educational it is. It goes off the top of the scale in record review terms and ups the ante beyond the reach of all record companies currently raiding their vaul ts for blues reissue product."

Michael Point, Austin American-Statesman

"It's truly a pleasure to be able to completely trust a company that does things up right. The attention to discographical detail in the T -Bone set sets new standards for blues/R&B reissues in this country."

Jack Woker, Cambridge} Mass.

The Complete Recordings of T'-Bone Walker 1940-1954.

Limited to 7500 copies worldwide. 9 LPs [MR9-130] $81

6 CDs [MD6~130] $90


.. It must have been a long row to hoe for blues fans, these years of waiting around for Mosaic to begin reissuing their kind

of music. But their patience has finally paid off generously in the form of a sixCD, album-sized boxed set ... " -Jack Sohmer, down beat

rm Call and order bv phone: 203/327 -7111 10am-5pm (ET) Mondavu::I Fridav or Fax: 203/323-3526 VISA & Mastercard onlv. please.

Presenting The Complele Dean Benedeni Recordings 01 Charlie Parker.

The story behind the myth begins in March of '47.

Bird took an extended gig at the Hi-DeHo in Los Angeles with Howard McGhee, Hampton Hawes, Addison Farmer and Roy Porter. Bird was healthy, having just come out of Camarillo State Hospital, and he was at the peak of his powers. When a saxophone player! amateur recordist named Dean Benedetti heard him, he was awestruck. Benedetti approached Bird and asked for permission to run a disc recorder during the sets. Bird agreed, and Benedetti began! To preserve disc space, Benedetti would start the machine when Bird was soloing, and stop the machine as soon as the solo was over. Benedetti used a mike, placed right in front of Bird's instrument, and except for Bird and the bass directly behind him, little else was captured on disc.

Using this technique, Benedetti recorded nearly four hours of concentrated Bird solos over a two-week period, with the sound varying from quite poor to fairly good. Bird's musical ideas, however, are never less than brilliant.


On to New York.

Later in '47, Bird returned to New York ... and Benedetti followed. This time, however, he had an early model tape recorder. Benedetti taped Bird one night at the Onyx, and another night at the Three Deuces (where in one segment, we hear Monk coming Out of the audience to teach Bird how to play "Straight, No Chaser.") The quality of the ew York recordings is quite good, and they account for fully half of this collection.

These are the Benedetti recordings in their entirety, and after forty years of rumor, speculation and debate, they are at last available to the world.

Everything is transferred directly from the original discs and tapes by legendary engineer Jack Towers and co-producer Phil Schaap. The 48-page booklet includes musical transcriptions by Benedetti and others, essays by Phil Schaap on Parker's life during this period, a biography of Dean Benedetti by Bob Porter, a musical analysis by Parker authority James Patrick, and Phil Schaap'S complete annotated discography of all the music in the set.

The Complete Dean Benedetti Recordings of Charlie Parker is our first Mosaic Unlimited release. Since we own, rather than lease, the rights to these recordings, we are not restricted in any way as to the number of

sets we can make available. This historic set, as well as future Mosaic Unlimited sets, will remain in print and available to the international jazz community for as long as Mosaic exists.

The Complete Dean Benedetti Recordings of Charlie Parker.

Not a limited edition. 10 LPs [MRIO-129} $ 90 1 CDs [MDl-129} $105

New Orleans jazz wasn't dead. And these records proved it.

As jazz branched off from its New Orleans roots in the 1930s and 1940s, most of the jazz audience followed. But not everyone.

Die-hard enthusiasts of authentic New Orleans jazz, like Bill Russell and Frederick Ramsey, were determined to keep the sound alive. When they learned that many of the music's early au rhenr ics - such as the legendary trumpeter Bunk J o hnson and clarinetist George Lewis - were still actively playing in New Orleans, and in very much the same style as ever, their mission was clear.

In May 1943, Bill Russell supervised the George Lewis recording session which, like the ground - breaking 1940 reco rdings of Bunk by Heywood Hale Broun and the 1942 Jazzmen sides by Bunk with George Lewis, proved to the world that all the passion of the

ew Orleans style had survived intact.

When Alfred Lion heard some of the discs, he immediately bought up the rights to the entire session, and created a new subsidiary, Climax, to release them.

A lime warp. pure and simple.

When "Climax Rag" hit the Commodore Music Shop on October 11, 1943, it helped usher in a full-fledged revival of pure New Orleans jazz. Francis Wolff called it "the very incarnation of the spirit of New Orleans jazz." The fact that this was a current, working band made the event all the more uplifting. George Lewis became the standard bearer for the true disciples.

Live for real

By 1954, the George Lewis Band was still going strong. A radio concert and a live concert, recorded in Bakersfield, California that year, were also purchased by Blue Note. Then, in 1955, the band made its most professionally produced recordings yet, at Rudy Van Gelder's studio under Alfred Lion's supervision.

Well, George Lewis was a man after our own heart. At Mosaic, we too believe in keeping original music alive. So, our George Lewis set includes all 25 Climax tracks, 13 of which have never appeared in the U.S., plus both 1954 concerts, with one unissued tune, as well as the Van Gelder tracks from 1955, with four unissued performances and one issued previously only on a lO-inch LP. The 16- page booklet contains a biography of George Lewis by Page Van Vorst, along with a complete discography of this set and rare photographs by Francis Wolff and others.

The Complete Blue Note Recordings of George Lewis.

Limited to 7500 copies worldwide. 5 LPs [MR5-132} $45

3 CDs [MD3-132} $45

"This mother lode of bebop alto saxophone is a seven-CD, lO-LP collection of consistently masterful, awe-inspiring performances that

capture Charlie 'Yardbird' Parker at the peak of his powers."

-Tom Moon,

Philadelphia Inquirer

Ii You don't have to care

about the historical implications of George Lewis's music to appreciate how powerful it is.

His playing is both deeply spiritual and technically assured." -Kevin Whitehead, National Public Radio




The, were called the "Blue Note Jazzmen"- anyone of • hem was capable 01 calling the shots.

One day the session would be Edmond Hall's All Star Quintet. Another day would feature James P. Johnson's Blue Note Jazzmen. On a third date, Vic Dickenson would be in charge. A fourth, and Sidney De Paris' Blue Note Stampers had booked the room.

From 1941 to 1952, they were the nucleus of an early Blue ote repertory company, and all they played can be found on The Complete Edmond Hal//James P. Johnson/Sidney De

The Complete Edmond Hall/ James P. Johnson/Sidney De ParisI Vic Dickenson Blue Note Sessions Limited to 7500 copies worldwide. 6 LPs [MR6-109} $54

4 CDs [MD4-109} $60

Paris/Vic Dickenson Blue Note Sessions.

Hall virtually talked on his clarinet. De Paris' trumpet was reportedly one of the toughest tru mpets to cut in Harlem j am sessions. Dickenson didn't. just participate in tradition, he nearly was one all by himself, staying active on trombone more than 60 years.

"The greatest pianist."

And who was the greatest pianist in jazz?

According to Duke, Basie, Hines, Tatum, Fats, and Willie The Lion, it was Johnson, the great stride pianist who was such an important transitional figure between ragtime and jazz. Sidemen include Charlie Christian, Red Norvo, Teddy Wilson, Harry Carney, and Ben Webster.

A festival of styles.

Get ready for a festival of New Orleans, stride, swing, third stream, and every combination imaginable. Six LPs, including 13 unissued tracks, six available only on 78s, and most of the rest scattered across little-known antholo-

gles. Where possible, the original discs were newly transferred for added clarity and purity.

A 24-page booklet with biographies, musical analysis, a detailed discography, rare photographs, and more.

"Mere words cannot really convey the overall excellence of the jazz music contained in this Mosaic six-LP album."

John Nelson, Mississippi Rag

" ... a rare opportunity to hear [Charlie Christian] on acoustic guitar instead of the electric." John S. Wilson, The New York Times

Albert Ammons and Meade Lux Lewisgood-time boogie woogie from Chicago's South Side.

There are good times inside every Mosaic box, but these boogie woogie players from Chicago made just about the happiest music there is.

They pla yed whenever they could- in small South Side bars, at rent parties, at hops. The audience wanted dance music, and they got it. Rollicking along on rickety uprights in echoey halls, these solo pianists had to bang it out eight

The Complete Blue Note Recordings of Albert Ammons and Meade Lux Lewis Limited to 5000 copies worldwide.

3 LPs [MR3-103} $27

2 CDs [MD2-103} $30

FIn Call and order by phone: 203/327·7111 10am-5pm (ET) MondayLIi.I Friday or Fax: 203/323-3526 VISA & Mastercard only, please.

to the bar so people could hear the rhythm . Boogie woogie reappraised.

Now the world is set for a complete reappraisal of their recorded work. Mosaic has discovered ail the original discs fromJanuary 6, 1939- the very first Blue Note session, when Ammons and Lewis were at the height of their renewed popularity. These tracks revise all known discographies and constitute the bulk of the unissued tracks on The Complete Blue Note Recordings of AlbertAmmons and Meade Lux Lewis.

Rarities and new discoveries.

Assessing and comparing the tal en ts of Lewis and Ammons is easier now that the 78s are assembled, chronologically, in one package. Hear nine Ammons solos, 23 Lewis solos, including four on harpsichord, plus two piano duets. Three LPs, with eight tracks previously unissued, 13 available until now only on noisy 78s, 10 available only on rare lO-inch LPs.

"This set is one to invest in immediately." Stanley Dance, Jazz Times

What drove Alfred Lion?

,., n immigrant from Berlin, Lion was a 1'11[ jazz fan the night he went to John Hammond's "Spirituals to Swing" Concert in 1938. Six days later, he was a jazz producer with his first record-and he never looked back. (See Mosaic's The Complete Blue Note Recordings of Albert Ammons and Meade Lux Lewis [MR3/ MD2-103}.)

The Pete Johnson/Earl Hines/Teddy Bunn Blue Note Sessions Limited to 5000 copies worldwide. 1 LP [MRl-119} $9

Not available on CD.

A passion lor the music.

Lion went after the pure, unadulterated thing whenever he recorded. He had a passion for the music and recorded the music he liked. This, together with his penchant for quality, make the Blue Note catalogue the awe-inspiring historical record it is.

Three veryearIy sessions demonstrate Lion's ability to elicit great performances by putting the best players in compelling new environments. We've compiled them on a new Mosaic LP, The PeteJohnsonlEarl Hines/Teddy Bunn BLue Note Sessions.

Tracking down the greats.

Lion tracked down Earl Hines in July 1939 and convinced him to record two intimate piano solos for a 12-inch 78. These are dazzling cuts from the heart of improvisation, quite unlike most of Hines' discography.

In December, he enticed boogie woogie master Pete Johnson into the studio for two piano solos and four stomp in' sides with bass and guitar. This is blues and boogie at its finest.

Solo jazz guitar? 0 kay by Alfred Lion, who recorded Teddy Bunn playing unaccompanied in March 1940. The results are exceptional.

With this Mosaic release, we've reached a milestone: the completion of our exhaustive program of restoring and issuing all but two of the great traditional jazz and boogie woogie Blue Note sessions of the 78 era. Includes an insightful essay by Stanley Dance.

"Romping, stomping boogie woogie from p ianist Johnson."

Bob Claypool, The Houston Post

"A valuable disc for the historical documentation of the solo Johnson and the oft overlooked Bunn."

Alan Bargebuhr, Cadence

His lone could lill the Polo Grounds-one ollhe gianls of jazz, Sidney Beehet.


New Orleans, teaming with culture from many nations, gave birth to Bechet and his sound. It also filled him with the urge to travel. He stomped 'round the world while still in his twenties. Russia. Egypt. He played for the king of England, banged around in bistros, ran a Harlem speakeasy, did time in Paris ...

He was all over the globe, making every musical note count.

An astonishing improviser.

Becher had an astonishing ability to improvise. The Complete Blue Note Recordings of Sidney Bechet is a reminder of his substantial gift.

He had a powerful tone, thick vibrato, and unflagging energy. He was the first true master of the soprano saxophone.

New transfers add clarity.

Bechet appeared from 1939 to 1953 on 13

-sessions for Blue Note, 10 as leader, yielding these 74 selections. Mosaic presents them on six LPs, many tracks taken from new disc transfers to give added clarity. Including 13 unissued tracks and four titles previously available only on 10-inch LPs or 78s.

A 16-page booklet includes a bio by John Chilton, musical analysis by Max Harrison, a full discography, rare photographs, and Blue Note cover art from the '40s.

(In order to be complete in each case, this collection includes three selections from the Port of Harlem LP and seven selections from the Art Hodes set.)

#3 (tied) Reissue of the Year

(1986 down beat International Critics Poll)

"One of the invaluable series of collections on Mosaic Records."

John S. Wilson, The New York Times

" ... a monument, demonstrating Becher's consistency and drive in any setting."

Eric Levin, People

The Complete Blue Note Recordings of Sidney Bechet

Limited to 7500 copies worldwide.

6 LPs [MR6-110] $54

4 CDs [MD4-110] $60

"I have devoured my nine Mosaic sets and I'm ready for morel"

One ollhe earliesl

"super sessions" created Blue Note's first hil.

. woogie piano was the first love of Lion, who gave up import/export in 1939 to record Albert Ammons and Meade Lux Lewis.

The third session on his fledgling label was an experimental unit which united trumpeter Frankie Newton, J. C. Higginbotham on trombone, guitarist Teddy Bunn, bassist Johnny

The Complete Recordings of the Port of Harlem Jazzmen.

Limited to 5000 copies worldwide. 1 LP [MR 1-1 OB] $9

Not available on CD.

Williams, drummer Sid Catlett, and pianist Albert Ammons.

All their classic 78s, alilogether.

The Complete Recordings of the Port of HarlemJazzmen includes all their 78s, cut on two separate days (the second one with Lewis instead of Ammons, and Sidney Bechet on clarinet and soprano saxophone).

We get to appreciate the wailing melancholy of Bechet, the buzzing, colorful statements by Newton, Burin's drama, Higginbotham's confidence, with Ammons and Lewis tying it all together.

A real treat: "Summertime, " wi th Becher on soprano, the record that racked up the coins in jukeboxes as Blue Note's first hit.

#3 (tied) Reissue of the Year

(1985 down beat International Critics Poll)



UI qUil!"-Johnny Hodges to Duke Ellington in 1 951.

t was a bold move for the great alto saxo-

phonist, and a blow to the Ellington Orchestra .. But after too many years of feeling like a sideman, Johnny Hodges felt the time had come to go it alone.

He'd been with Ellington since 1928, when Duke first heard the young alto saxophone player. At 22, Johnny Hodges had the chops, together with a fresh individual style that made him a prime candidate for solo stardom.

Through the years, Hodges had many opportunities in the spotlight, both on tour and on recordings. He developed a significant following among jazz fans ... and by the late' 30s, he'd become an important influence. What he didn't have was the chance to prove himself as a leader.

Time 10 move on.

Hodges' solo contract with Norman Granz gave hi m the opp ortu ni ty to lead his own, tigh t, seven-man working band. Over the course of the next five years, he would surround himself with a galaxy of' 50s jazz grea ts, incl uding John Col crane, Jimmy Hamilton, Ben Webster, Flip Phillips, Harry Carney, Emmett Berry, Sonny Greer, Billy Strayhorn, Al Sears, and Lawrence Brown.

But great as the music was, it did not bring Hodges fame, fortune or glory commensurate with the added pressures and details that went with leading his own band.

"Welcome back!" - Duke Ellington to Johnnv Hodges in 1955.

In late 1955, Johnny Hodges returned to the Ellington organization.

It was the end of a mini-era. The music created between 1951 and 1955 by Johnny Hodges and his "small big band" was released briefly on the Clef and Norgran labels, and later reissued on Verve. For this release, it is being made available in its entirety, transferred directly from the original master tapes, and chronologically sequenced. The tracks total IS complete studio sessions with Johnny Hodges and Co.- and a delicious wealth of scaleddown Ellingtonian swing.

The 16-page booklet includes a musical analysis by Stanley Dance, a biography of Johnny Hodges, and rare photographs of his band in performance.

"This is one of the great jazz collections ... " Ralph de Toledano, National Review

'~ .. just excellent music. Highly recommended:' Tim Smith, Cadence

" ... there is no better concen tration of Hod ges under one cover than this Mosaic set ... "

W. Royal Stokes,fazzlimes


"He was, as Ellington said, beyond category. Hodges played with more self-assurance than almost any musician I've ever seen."

Nat. Hentoff, The Wall Street JournaL

The Complete Johnny Hodges Recordings 1951-1955 Limited to 7500 copies worldwide. 6 LFs [MR6-126} $54

Not available on CD.

Three plays a quarter ... Ike Quebec's soulful jazz jumps on Ihesejukebox sides.

Nineteen fifty-two to 1959 .. Hard times _. . for the big-toned, impassioned tenor players from Coleman Hawkins and Ben Webster on down. Hard bop and the cool school were the rage. Everything else took a backseat.

Ike Quebec, one of the most soulful, melodic, and complete musicians to pick up the tenor saxophone (see Mosaic's The Complete Blue Note Forties Recordings of Ike Quebec and John Hardee [MR4-107J), did not record at all during this period. But he never stopped playing.

Real singles.

But by 1959, the urban, black jukebox circuit was big enough to hold blues, R&B, and jazz. So when Blue Note president, Alfred Lion, decided to cut some singles-real singles; 45 RPM records with a big hole in them- and Ike Quebec's sound hit the jukes, his music was again recognized for its strength and heartrending beauty. (Note: very few recordings were constructed to be released as singles at chat cime- most singles were album cuts with a quick fade-out.)

At a total of three single sessions (1959,

I"r.! Call and order by phone: 203/327 -7111 tOam-5pm (ETI Mondayu.u Friday or Fax: 203/323·3526 VISA & Mastercard onlv, please.

1960, and 1962), Quebec was joined by such sidemen as Skeeter Best on guitar, Milt Hinton and SamJones on bass, Sir Charles Thompson on organ, and J. c. Heard on drums. Most of the titles, from throaty blues originals to big, bold standards, remained unissued on LP until now. Mosaic has taken the entire output of these three recording dates and assernb led them into a three-record set, The Complete Blue Note 45 Sessions of Ike Quebec.

The 12-page booklet contains Quebec's biography, a complete updated Blue Note discography, a wonderful essay by writer and tenor player Loren Schoenberg, and many previously unpublished photographs of the sessions, taken by Francis Wolff.

#2 Reissue of the Year

(1988 down beat International Critics Poll)

"These sides provide revelation upon revelation of Quebec's completeness as a tenor voice. He shares Coleman Hawkins' and Ben Webster's commandingly stout tone ..... the exuberant shout of Count Basie tenor Herschel Evans is here, too. * * * *"

Peter Kostakis, down beat

"Quebec was definitely a master of saxophone jazz. His tone goes back to the classic tenor sound of Coleman Hawkins, Ben Webster, Herschel Evans, Budd Johnson, and Buddy Tate. His performances show a ceaselessly inventive jazzman."

Owen Cordle, Raleigh News and Observer

The Complete Blue Note 45 Sessions of Ike Quebec Limited to 7500 copies worldwide. 3 LPs [MR3-121} $27

2 CDs [MD2-121} $30

.. JAZZ ARTISTRY - OF MANY KINDS: This lUll contact s.hul 110m lIle lale Dhotogra.lll1er Francis woln [see article, page 22) sholln Novembe, 1964 shows drumme.r Elvin Jones (upper lem 8.nd organIst Larry Young at RudY Van Gelder"s studio durllllllbe Blue Nole sessl.onlllal produced Into SomethIng, Larry Young's complele 81ue Note recordings have now bee.n reissued In a nllW, 9-LP, 6·CD 11m lied edmon frOm Mosaic (page 41.



first we'IIIell vou whal we wenllhrough with Art Hodes, Ihen we'll tell you why.

If you think reissuing classic jazz is a:s easy as pulling a box off a shelf and press10g up some records, get a load of what we went through with the Art Hodes rec~)f.dings ..

First we had to transfer the original l s-inch wartime acetates to audiotape.

Those were compared to transfers made for reissues in 1951, in 1969, and a third set in the '70s. We even transferred 78s we could acquire for further study.

Painstaking comparisons.

We made painstaking AlB cOI?parisons ~f all existing tapes for every cut, Just to see If transfers made 35 years ago were better than ours. We're committed to the best even if it means throwing out our own work.

As for the documentation, let's just say that experience has taught us not to believe every printed word.

So how come all the interest in a pianist who recorded before World War Two? Because Hodes is steeped in three important strainshe's from Chicago, he plays New Orleans, and he plays it blues. You can trace the lineage of con temporaries such as Ray Charles, Professor Longhair and Dr. John back to Art Hodes and New Orleans jazz.

Many unissued or rare sides.

Here is Art rolling along wi th Sidney Becher, Wild Bill Davison, Vic Dickenson, Baby Dodds, Edmond Hall, Max Kaminsky, and Mezz

The Complete Blue Note

Art Hodes Sessions Limited to 7500 copies worldwide. 5 LPs [MR5-114] $45

4 CDs [MD4-114] $60

Mezzrow. The set includes many performances previously unissued or released only on 78s and lO-inch LPs. Five LPs plus a 16-page booklet with original liner notes, a thorough discography, Art Hodes' own writings, and many rare Francis Wolff photographs, plus a

new appreciation by Dan M~rgenstern. . .

(In order to be complete 10 ~ach case, this collection includes seven selections from the Sidney Bechet set.)

"This delightful five-record set colle~ts all of Hodes's informal Blue Note dates, with wonderful contributions from Sidney Becher, Max Kaminsky, Vic Dickenson, and Baby Dodds among others."

Francis Davis, Philadelphia Inquirer

"Now Mosaic restores order with meticulous completeness and honest sound."

Alan Bargebuhr, Cadence

Bird told Miles and Dizzy, "You beller watch out. There's a lillie white cat on the West Coast who's gonna eat you uP."

1'"1 het Baker reports the quote himself, out '-.J of awe, not pride. He met Parker when the altoist was putting together a band in L.A. Every trumpeter in L.A. came down, and after Chet played two tunes, Parker canceled the audition and hired himself a horn player.

What Parker recognized, what this release reveals, is that Chet Baker may have been one of the most intuitive and improvisational players ever.

He couldn't read a note. Didn't have a clue about chord structure and progressions. But what a fabulous ear for melody and complementary playing!

"Every lake wenl someplace else,"

It wasn't until we were preparing the Gerry Mulligan set [MRS-l 02] that his ta!ent beca~e obvious to us. Michael recalls, The music totally floored me. Every take went someplace else. Even on the same number, he never used an idea twice." Turned on by Baker's sideman work Michael went to work on these.

Night after night, Baker's only .s~fety net was Russ Freeman's great compositions and firm support. The Complete Pacific Jazz Li!,e Recordings of the Chet Baker Quartet wtth Russ Freeman is the evidence.

Newly discovered sides.

This set-recorded in 1954-gives you every note recorded live, four LPs including two and a half LPs' worth unavailable until now.

rm Call and order by phone: 203/327· 711110am-5pm (Ell MondayI.,I",I"i Friday or Fax: 203/323-3526 VISA & Maslercard only. please.

The Complete Pacific Jazz Live Recordings of the Cbet Baker Quartet with Russ Freeman

Limited to 7500 copies worldwide.

4 LPs [MR4-113] $36

3 CDs {MD3-113} $45

The eight-page booklet offers ar,t in-depth .e~say by Joe Gold berg, a 1954 a~tl.cle by Paclfl,c Jazz owner, Dick Bock, and W illiam Claxton s

photographs of the actual events. .

If you haven't enjoyed your own discovery of this remarkable trumpeter, clear space and get ready to be floored.

"Anyone who doubts that Chet Baker is .a major instrumental talent-and anyone who IS unaware that Russ Freeman was an exceptional pianist-should hear The Complete PacificJa~z Recordings of the Chet Baker Quartet with Russ Freeman."

R. C. Smith, Durham Morning Herald

Here's one L.A. soloist with no N.Y. comparison-

pure Pepper at his peak.

... Till the controvers):, rage forever? .Or •• ~ill people put aside preconceptions and open up their ears?

Sure, New York was the cente~ and L.A. echoed the develop men ts, bu t when 1 t comes to Art Pepper, only geography separated him from the innovators.

Pepper never fully adapted to the cooledout West Coast style. His phrasing was jagged and surprising, his leaps ?etween regist~rs dramatic, his tone full and nch. You can pOlI~t to saxophone forebears with elements of hIS playing, but all together, they belonged only to him.

Control, precision. emotion.

He could move readily between blowing dates and big band charts, with solos full of spontaneous fragments that still managed to relate ingeniously. That was the real tension of Pepper's work, perhaps echoing his troubled nature-the firm control and precision, balanced by intense personal emotion.

Two collaborations with Chel Baker.

He was working extensively with Chet Baker, occasionally with fellow saxophonist Jimmy Heath's arrangements, during the late '50s. These performances were made during the most important year of his music, when he was truly striking out on his own.

The Complete Pacific Jazz Small Group Recordings of Art Pepper introduces a number of tracks never before available or released only in edited versions. Included are two sextet sessions co-led by Art and Chet Baker (the first could be heard until now only by purchasing five differen t albums), the Shorty Rogers nonet date, and four saxophone encounters with Bill Perkins. Sidemen include Phil Urso, Richie Kamuca, Pete Jolly, Jimmy Rowles, Russ Freeman, and Shelly Manne. The eight-page booklet includes an essay by Michael James, photographs from original recording sessions, and newly discovered discographical information.

#3 (tied) Reissue of the Year

(1985 down beat International Critics Poll)

« ... captures Pepper's fertile form in 1956 and 1957 ... all these recordings tingle with vitality." Eric Levin, People


The Complete Pacific Jazz Small Group Recordings of Art Pepper Limited to 7500 copies worldwide.

Less than 1000 copies remaining.

3 LPs [MRJ-l05} $27 .

Not available on CD.

Shorty Rogers was

a Wesl Coasl swinger trom way back.

f West Coast jazz has gotten a bad rap over the years for being "too cool," it may be that disciples of the school have been missing one of the key components established in the mid-'50s by the pioneers of that genre.

Take, for example, ace arranger, composer, and trumpet player Shorty Rogers. Shorty'S 1951 octet recording with Art Pepper and Hampton Hawes on Capitol, and his 1953 quintet recording with Bud Shank on Nocturne (later reissued on Pacific Jazz), firmly established him, and the West Coast sound, as "swinging cool. " But swinging all the same!

Five Atlantic LPs in 13 months.

Harmonically, he was creating a whole language of West Coast jazz. But rhythmically, it swung as hard as any form of jazz. His playing impressed the East Coast ears at Atlantic Records, and in 1954, they signed Shorty Rogers. Thus began 13 months of marathon recording sessions that led to three albums released during 1955 and 1956 ... plus enough solid material to fill up two more LPs for the British Atlantic label in the mid '70s.

The 13 months Shorty Rogers spent recording for Atlantic was the most prolific and creative period of his career. Atlantic gave him free rein in the studio, and he took full advantage of it, using six entirely different sets of all-star players over the course of 11 sessions. (Think about it. .. that's virtually the equivalent of one recording session every month for an entire year!)

Amazing as it rna y seem, there wasn't a lessthan-interesting track in the entire batch. But the tracks, scattered seemingly at random among five LPs on two continents, released over a 20-year span, were nearly impossible to find.

Mosaic straightens oul the mess.

So there we have it. A typical Mosaic undertaking. A patchwork quilt of long-unavailable, extremely important recordings by a major, influential jazz figure, which cries to be straightened out and released in coherent fashion.

The Complete Atlantic and EM! Jazz Recordmgs of Shorty Rogers does exactl y that. The set begins with the ear I y Capi tal and Nocturne recordings, reproduced directly from.the master tapes. Then the five LPs of Atlantic material are at last organized in their original recording order and reproduced directly from the superior-sounding original mono master tapes.

These sessions feature such L.A. mainstays as Bud Shank, Jimmy Giuffre, Bill Holman, Conte Candoli, Harry Sweets Edison, Barney

Kessel, Pete Jolly, Lou Levy, and Shelly Manne among many others. A significant alternate take of "Papouche," released here for the first time, rounds out this history-making set.

Included with the package is a 16-page booklet by Todd Selb ert, featuring his co m prehensive biography of Shorty Rogers, a musical analysis of all 54 tracks, and photographs by William Claxton from the Atlantic sessions.

"This outstanding set provides positive proof that what is known as West Coast jazz-and much of what is presented here touched off the genre-was swingin' stuff. It is hard to believe that some of this material was recorded nearly 40 years ago. It still sounds fresh and vital today."

David Zych, Jazz Times

"These recordings, for the Atlantic label, were stunning in their quality as well as quantity. Rogers wrote most of those pieces and arranged a few standards, aggressively exploring ins trumenral combina tions and colors ... There are lots of great players on these 54 tracks." "Fresh Air," National Public Radio

The Complete Atlantic and EM! Jazz Recordings of Shorty Rogers Limited to 7500 copies worldwide.

6 LPs [MR6-125} $54

4 CDs [MD4-1251 $60

iI".the most careful of all jazz reissue labels" -Nat Hentoff,

The Wall Street] ournal



The seminal Chel Baker sessions- cleaned up and sounding incredible.

"De doesn't have any idea what key

he's playing in or what the chords are;' explained quartet member and composer, Russ Freeman. "It's all just by ear. He has nothing to fall back on. But there would be certain nights, maybe once a week, when he would be absolutely staggering."

We are proud to release The Complete Pacificjazz Studio Recordings of the Chet Baker Quartet with Russ Freeman. Here are the sessions where Gerry Mulligan's alter ego stepped

The Complete Pacific Jazz Studio Recordings of the Chet Baker Quartet with Russ Freeman

Limited to 7500 copies worldwide.

4 LPs [MR4-122] $36

3 CDs [MD3-122] $45

out front. He was destined to be a legend before he turned 30.

The Freeman-Baker counterpoint is uncanny, peppered with harmonic twists and taut musical thinking. Baker knows how to play the "spaces:' And between them, he knows where to put the absolute rightest notes.

Back to baSics.

The set includes two and a half sides of instrumentals and one and a half featuring Baker's vocals (he sang "with an innocent sweetness that made girls fall right Out of their saddle oxfords," said one reviewer). Many of these vocal tracks, recorded between 1953 and 1957, were originally released drenched in echo and foggy from heavy equalization. We searched every tape version of each cut and wrung' em out, back to the basic" as-recorded" sound Mosaic collectors expect. Overdubs added later are gone.


This four-record set delivers the clean, fresh music of the kid trumpet player from the West Coast with the East Coast swing, the great sound, and the innate timing to put it all together.

Untrained hlpness, lyrical simplicity.

The collection confirms what a lot of fans have been saying all along- Chet Baker plays and sings jazz with untrained hipness and lyrical simplicity.

"Chet struck me as a giant then," said Freeman years later. And he strikes us as one nowcoming through loud and clear in the sessions that made the difference. The 12-page booklet contains a perceptive essay by Will Thornbury, musical analysis by Doug Ramsey, and many unpublished photographs by William Claxton from the acrual sessions.

"Chet Baker fans can't be without this one, and it's historically significant- the guy is even better than you originally believed him to be." Bob Claypool, The Houston Post

"His playing touches emotional nerve centers." George Kanzler, Times Picayune Entertainment Guide

"Mosaic ... has used the tapes made by Pacific Jazz, without attempting to doctor them in any way- and the effect is outstanding."

Ralph de Toledano, National Review

We dare anyone 10 dig up more unissued Mulligan.

".Te pride ourselves on finding unissued ... ~usic in creating our sets, but even we were not prepared for Gerry Mulligan.

After all, look at the attention he gOt, virtually exploding OntO the scene. He walked into the Haig in L.A. dead broke and a few months later was headliner. Then Time magazine. And the critical controversy for eliminating the piano. Certainly with such interest, the mine would be played out.

Well, we found a rnotherlode, all just as good as everything that's been released.

His most innovative vears.

The years were 1952 and 1953, Mulligan's most innovative period. Chet Baker was with him, warm and introspective next to the baritone player's deep tones. Occasionally, Lee Konitz or Jimmy Rowles would sit in. Mulligan's writing defined the word "interplay."

Finally, every bit of releasable music is in one box. The Complete Pacificjazz and Capitol Recordings of the Original Gerry Mulligan Quartet and Tentette with Chet Baker is a longawaited coherent compilation, with 13 newly discovered tracks, five others restored to original length, and seven tracks available previ-

C'm Call and order by phone: 203/327· 711110am-5pm (ET) Monday~ Friday or Fax: 203/323-3526 VISA & Mastercard only. please.

ously only on rare lO-inch LPs or multi-artist anthologies.

Additional sidemen include Red Mitchell, Chico Hamilton, and more. Five LPs, plus a 12-page booklet including an essay by Pete Welding, an updated discography, and unpublished William Claxton photographs from the actual sessions.

« ... history making sessions ... previously unissued performances ... absolutely essential." Frank Driggs, Audio

" ... a classic of its kind ... reminds us that the music of the Mulligan/Baker quartet was of seminal importance in the establishment of West Coast jazz ... "

Dan Morgenstern, down beat

The Complete Pacific Jazz and Capitol Recordings of the Original Gerry Mulligan Quartet and T entette with Chet Baker Limited to 7500 copies worldwide

3 CDs [MD3-102} $45

Sold Out on LP. Less than 500 CDs remaining

When jazz lurned commercial, Mingus lurned rebel. The fire ot Ihe limes-in Ihese rare Candid recordings.

et's turn back the clock to 1960. The times were turbulent, and so was the music. Mingus' core personnel (Eric Dolphy, Ted Curson, and Dannie Richmond) were capable of anything, and given Charles' inner demons, they needed spirit and strength to go exploring with him.

In the spring, when Mingus and others were disappointed with the financial arrangements

at the Newport Jazz Festival, Mingus hatched a plan. The Newport Rebel Festival.

Critics and musicians hailed it. Still boiling, Mingus hit the studio. The Complete Candid Recordings of Charles Mingus was the result.

Results lett musicians elated.

Mingus and his collaborators were elated.

"I made it!" Richmond yelled after one take. "I finally got to play it like I've been hearing it." And Dolphy said, "We never got it together like this in the club."

Three sessions in all were recorded. The first added Lonnie Hillyer, Charles McPherson, Nico Bunick, Jimmy Knepper, and Britt Woodman. One month later, Curson and Dolphy returned for three cuts on a date featuring Hillyer, McPherson, Booker Ervin, and


The Complete Candid Recordings of Charles Mingus Limited to 7500 copies worldwide. 4 LPs [MR4-111} $36

3 CDs [MD3-111} $45

Paul Bley. Also that day, a remarkable jam was assembled-Mingus with Richmond and Eric Dolphy, plus Jimmy Knepper, Jo Jones, Tommy Flanagan, and Roy Eldridge!

Roy told the bass player, "A lot of the young ones forget the basics. Theydon't get all the way down into the music. You did, baby."

Includes unissued masterpieces.

Four LPs include the two Mingus Candid albums, seven titles issued only on anthologies, and five unissued masterpieces. A 12- page booklet includes essays, Nat Hentoff's original liner notes, and newly discovered photographs.

#1 (tied) Reissue of the Year

(1986 down beat International Critics Poll)

"This may be the most valuable item in Mosaic's series to date."

Leonard Feather, The L.A. Times

" ... you probably have the original albums released on Candid, or the Barnaby reissues, but don't let that deter you from looking into this four-record set on Mosaic ... superb sound and annotation and five previously unreleased tracks."

Chris Albertson, Stereo Review

How could so much explosive energy stav bottled up lor so long? Cecil Taylor and Buell Neidlinger on Candid. You haven't heard the hall of it.

1""'1 ecil Taylor may be, in all the turbulent '-.J history of jazz, the one individual who has thrown down the most challenges- for critics, for listeners, and for fellow musicians.

While many in music are content to establish a style for themselves, gain some notoriety, and stick with the shtick, Cecil's career has been a constant, uncompromising journey.

Today, he's an acknowledged leader of the avant-garde, whose concerts can last for hours of unrelenting emotion, leaving musicians and concert goers equally exhausted.

But there were only hints of where his musical exploration would take him when he, N eidlin ger, Dennis Charles, and a young Archie Shepp entered the studio in October 1960 and January 1961 to make the recordings that would clearly state his importance to the world.

In the tradition.

Some listeners are reminded of Ellington, Monk, and Mingus by the harmonies Cecil was investigating, which suggests he had already aligned himself with the most adventurous musicians in the jazz tradi tion, But the rh yth ms were his own brew. Hints of stride showed up in Cecil's two- handed p laying style, and he had already developed an ear for the heavy percussion of African music. Clearly, he was on his way to inventing himself.

From a total of four days of intensive playing, Candid released exactly one album- The World of Cecil Taylor. Ten years later, in 1971, CBS/Sony in Japan released an all-new album from the second sessions, which were actually led by Neidlinger. Later that same year, Barnaby in the u.s. released yet another, all different Cecil Taylor album.

Three down. three to go.

As obscure and hard to find as those three albums are, a like amount of music from those sessions went totally unissued ... until now.

This Mosaic set con tains everything of merit from the Candid sessions, including three LPs' worth of unissued titles and worthy alternate

takes. 10 addition to the quartet recordings, there are several tracks with an expanded ensemble that includes Billy Higgins, Clark Terry, Roswell Rudd, Charles Davis, and Steve Lacy.

Historic highlights.

Listen for the recording debut of Sunny Murray on the previously unissued Taylor composition "Number One." And in a series of five takes on Cecil's masterful" Air," hear how the quartet (with Archie Shepp also making his debut) work their way into the composition one experimental step at a time- all the way through the master take- and then one take beyond!

The 16-p age booklet includes musical reminiscences by Nat Hentoff (producer of the original sessions) plus a musical analysis and

The Complete Candid Recordings of Cecil Taylor and Buell Neidlinger Limited to 7500 copies worldwide.

6 LPs [MR6-127} $54

4 CDs [MD4-127} $60

personal recollections by Neidlinger. Additionally, there's a complete Taylor/Neidlinger discography and rare, unpublished photographs.

" ... invaluable ... it's my early pick for reissue of the year."

Michael Ullman, Boston Globe

" ... this boxed set is a little bit of heaven ... it's an unalloyed pleasure. "

Robert Derwae, Cleveland Plain Dealer

"Every note on the four-CD set The Complete Candid Recordings of Cecil Taylor and Buell Neidlinger attests to the uncompromised brilliance of pianist/composer Taylor."

Russell Woessner, Philadelphia City Paper

"There is already no doubt what 1989's best reissue will be."

Jules Epstein, Philadelphia Tribune





Francis Wolff

Francis Wolff made his mark on the jazz world as Alfred Lion's partner .at Blue Note Records, an association that helped bring the world one of its great musical treasures. As a labor of love, Francis Wolff also took photographs at every Blue Note session during the 23-year period from 1944 to 1967. His album covers and liner-note photography made an indelible impression on jazz fans and musicians alike. Now, the photography world too is coming to appreciate his artistry, as demonstrated in this piece excerpted by permission from the October 1989 issue of Darkroom Photography magazine.


Few things in life are so uniquely original as to be instantly recognizable. There's the look of a painting by Picasso, the one and only sound of a Stravinsky symphony or the unmistakable mise-en-scene of a film by Renoir. And there is Blue Note Records.

If you were a jazz fan back in the '50s or '60s, you could play virtually anyone of its records and tell solely by the sound - swinging, soulful, hard bop engineered to perfection-who had made the record. And when you gazed at the moody, atmospheric cover photo, set in a brilliant art design, you didn't have to read the fine print to know this was a Blue Note recording. In a market cluttered with look- and soundalikes, this small independent stood apart from the pack.

The extraordinary covers Blue Note put together, coupling great photography with the designs of artists like Reid Miles, Gil Melle and John Hermandsader, gave the label a unique image-each cover a distinctive work of art in its own right, yet sharing a consistent thematic vision.

... PholOQragb laken SePte mber 15, 1957.

Intimate and eleganl

A large part of that distinctiveness was rooted in the outstanding photographsintimate, elegant, mostly monochrome images of the jazz lions of the day-by a Berlin-born refugee named Francis Wolff, who teamed up with fellow Berlin expatriate

and childhood friend Alfred Lion to form the heart and soul of Blue Note records.

Wolff was a gifted photographer whose candid style belied a trained and disciplined eye. Neither a "decisive moment" advocate li ke C artie r- Bress 0 n nora seeker of monumental photographic themes like Eugene Smith, Wolff's talent lay in capturing his subjects' personalities through subtleties: a telling expression or gesture that helped reveal the man behind the musician. Thus one can see the mid-'60s confidence and ebullience of Dexter Gordon on the cover of A Swingin' Affair, contrasted with the pensiveness that was such an integral part of ] ohn Coltrane's personality, on his Blue Train cover.

Wolff's photos are gracefully composed and full of shadow, his subjects' faces often floating up out of an inky background. Most of his shots are fairly straightforward, though he occasionally indulged in a little playful experimentation-like the vintage Hank Mobley cover, shot from a low angle, in which the saxophone virtually obscures Mobley's face, resulting in a surreal, abstract effect.

At Ihe sessions

WoIff shot most of the covers in Blue N ate's recording studio, photographing before, during and after recording sessions. Using either a hand-held Leica or Rolleiflex, normal lenses and a combination of flash and available light, Wolff would shoot anywhere from 8 to 20 rolls of film per session.

"Frank would just keep moving around the studio during rehearsals and sessions, and after a while people got used to him and totally forgot he exi sre d ," remembers Michael Cuscuna, a producer affiliated with Blue Note.

(continued on next page)

..... AN. I NVALUUll ARCHIVE: this prewlousl, unpublished Tadd. Dameron PholograPh waslaken by Francis Wolff aI a 1961 session al Rudy Van Gelder's sIUdlo.


(Continued from page 23)

Wolff's popularity with and empathy for the musicians also helped put them at ease while he was working, making revealing, unguarded images easier to capture.

As far as Cuscuna knows, Wolff never processed or printed his own work, because in the organizational scheme of the company, Lion did the creative A&R work, while Wolff handled the business end. His time was taken up with myriad details, such as dealing with the musicians' contracts and royalties, overseeing the pressing plant operations, proofing the liner notes on the record covers, and so on.

Wain's early years

Ruth Lion (Alfred's widow), who knew Wolff well, recalls that he came from a wealthy Jewish family. His father, a mathematics professor, brought his family up in an atmosphere of cultural richness and diversity, investing his children with a love of literature, painting and music. Francis studied photography formally as a young man in Berlin, before Nazi persecution forced him to emigrate to the United States in 1939, on the last boat out of Germany bound for America. Upon arriving in New York, Wolff worked as a retoucher in a photo studio by day and with Lion on Blue Note at night. After the war, he was able to devote himself full time to the company.

"From the minute he came over, he started to do all the photography, all the sessions," says Cuscuna. "There were no such things as record covers in those days. The first things that came out were 78 folio albums right after the war, and those carried his pictures in them. The minute they started with ten-inch

LPs, in 1951, that's when a lot of his pictures started to appear with frequency. Up until that time he'd been shooting every session, but there wasn't much outlet for it because everything was 78 singles."

fiddle to the more outgoing Lion.

A longtime Blue Note mainstay, pianist Horace Silver, backs up this view. "He [Wolff] kind of got swallowed up in Alfred's shadow because Alfred was such a dynamic person. Alfred was the boss of the company, but rank was his right-hand man. Alfred could never have begun to make Blue Note into the company it was without the aid of Frank Wolff."

The consensus of those who knew him was that Wolff-though confident of his abilities both as a photographer and administrator-was unaware of the significance of the work he was amassing. Cuscuna again: "My suspicion is that he was so totally involved in the day-to-day aspects of running the company that his concerns

buyout of the company by Liberty Records. Wolff stayed on until his death in 1971, though the early Blue Note mystique was on the wane. Lion's absence hom the scene, the inferior album covers from Liberty'S art department, and shifting trends in jazz all conspired to hasten the end of the old Blue Note.

Wolff never published any books during his lifetime. For years, thousands of prints encased in envelopes resided in a trunk in Ruth Lion's house. Only recently, nearly 20 years after his death, did Ruth ask Cuscuna and fellow producer Charlie Lourie whether they couJdn't do something with the photographs. They have discussed the possibility of publishing a collection of Wolff's greatest photographs.

Life in the gheno

Besides his jazz photographs, Wolff somehow found the time to make a less prolific collection of documentary photos (roughly 1,500, also owned by Ruth Lion) of street life in some of New York's impoverished neighborhoods. Mrs. Lion says that as a German Jew who lived through the Nazi terror in the late '30s, Wolff "felt close to suffering."

Horace Silver, who was closer to Wolff than most of the other musicians on Blue Note's roster, recalls seeing some of this other work, describing it as "very beautiful pictures of life in the ghetto; just people hanging out on the street or in doorways or whatever. Very sensi tiv e, nice stuff. "

Silver remembers Wolff as "a beautiful guy, very humble and dedicated and quiet. He wasn't in it for the money. He loved jazz, he

loved the musicians and he loved to be on the scene."

The "scene," as Silver terms it, was considerably enriched by the presence of Francis Wolff throughout the Blue Note reign. Finally, after too many years of languishing in obscurity, his photographic legacy will once more be brought into the public eye. The dramatic chiaroscuro images of Dexter Gordon, Art Blakey, Horace Silver, Lee Morgan, Hank Mobley and dozens of others who passed before his lens during their most fertile and productive years form a heartfelt and magnificent tribute to the men who shaped and defined America's greatest indigenous art form.

... Photograph laken March 6, 1960.

22,000 photographs

Over the years Wolff shot some 22,000 photographs of the jazz giants of his time, including approximately 300 Blue Note covers, a body of work that can stand comparison with any colIection of jazz photographs. Yet his oeuvre was largely taken for granted during his lifetime, and Wolff received little recognition. A secretive man, he spoke little of his personal life. Everyone connected with him remembers him as shy and retiring. He apparently never made any effort to promote his photography and seemed perfectly content to play second


were only with whatever the next record was or the next task that had to be done."

Ruth Lion agrees that Wolff was completely absorbed in his dedication to the label.

Survival 10 the end

"I admired him enormously for his fortitude in the business," she says. "It was a young, striving company in the very beginning, going up against a lot of giants. Frank and Alfred worked very closely and very hard to survive. And it was really survival from the beginning to the end, because Alfred used to say that bankruptcy was never more than six months away. The two of them worked diligently every day, seven days a week, many long hours."

Those long hours eventually took their toll. Lion left the label in 1967, following a

Three of Francis Wolff's classic Jazz photographs are now being offered to Mosaic customers in two limited-edition formats. For more information, see page 31.


SWing's lop soloists linally stretch out.

It was a little world caught between worlds. Wartime economy and changing taste forced musicians to explore smaller units. But bop wasn't the stuff for guys used to ensembles and tuxedos. The resul twas swingtets, sessio ns allowing greater flexibility and solo space for musicians at the height of their abilities.

The Benny Morton and Jimmy Hamilton BLue Note Swingtets completes the rescue of Blue Note recordings in the idiom. (Check out The Complete Blue Note Forties Recordings of Ike QuebecandJohn Hardee [MR4-107] and Edmond Hall on The Complete Edmon d Hall/ James PJohnson/Sidney De Paris/Vic Dickenson Blue Note Sessions [MR6-109].) These enthralling chamber swing sessions from 1945 captured the mood of one generation in the format of a newer one.

Like Ellington in miniature.

Benny Morton's trombone could belt it out or weave subtly. Blue Note's Alfred Lion booked the date with Barney Bigard and Ben Webster-an austere trombone, tenor, clarinet fronc line-like Ellington in miniature.

Jimmy Hamilton replaced Bigard in Ellington's 1942 band- and stayed 25 years. Throughou t, his clarinet soared over the woodwinds. On this session, he does most of the writing and arranging for himself and four Ellington compatriots.

The LP includes a trio date with Morton's accompanist, the wonderfully tasteful Sammy Benskin. Half of his set appears for the very

The Benny Morton and Jimmy Hamilton Blue Note Swingtets Limited to 7500 copies worldwide. 1 LP [MRl-115} $9

Not available on CD.


first time. History and musical analysis by Stanley Dance.

"This is of immense musical interest. Chambers's powerful sound is a revelation and his plunger solo in 'Slapstick' would grace any Ellington band date. Forty-eight minutes of music of substance and character worthy indeed of the now-familiar Mosaic production standards of care, pure original sound quality ( no equalizing or a ther hypes), and attention to detail. "

Brian Davis,Jazz Forum

Time out: Here's a personal pitch lor one 01 the greatest tenor players who ever lived.

1I..'hat we need here at Mosaic is a pa... ~ron-someone who will just dump bags of money at the door and let us put out records like The Complete Blue Note Forties Recordings of Ike Quebec and John Hardee without regard for profitability. Any applications?

Full of love and soul.

Here's why we want to keep this music alive: For John Hardee, it's that he's a great example of a '40s musician working in New York-in Carnegie Hall one night and a Bronx bar the next- always shouting on his horn, full of love and soul and swing. For Ike Quebec, the reason's a little different: According to Michael, "Ike Quebec has always been one of the few players who really touches my heart."

Both Hardee and Quebec came up at a critical time, when swing had swung and bop wasn't born. Hardee marked those years with these sessions including Tiny Grimes, Sammy Benskin, plus Sid Catlett, Jimmy Shirley, Gene Ramey, Trummy Young, and others.

Quebec's innovalion.

Quebec was a soulful master of the ballad.

In addition to his career as a player, he was also an A&R man at Blue Note, responsible for bringing Monk, Bud Powell and many other modernists to the label.

And yet, despite his innovation and taste, he is still neglected, more than 20 years after his death! At least we have his sides with Tiny Grimes, Ram Ramirez, Milt Hinton, Buck Clayton, Tyree Glenn, Oscar Pettiford, and more.

The set: four LPs including 14 unissued sides, 14 more available until now only on 78s and 28 only on various out-of-print anthologies. A 12-page booklet with essay by Dan Morgenstern, newly researched biographies, and rare photographs.

"The Ike Quebec performances are great jazz ... some of the last great swing music to come to LP. It's about time."

Bob Porter,fazzTimes

"Mosaic cannot be praised too highly for reissuing this rare '40s output of two sadly neglected tenor men, with Ike Quebec quite definitely proving his place alongside the tenor giants of jazz."

Brian Davis, Jazz Forum

The Complete Blue Note Forties Recordings of

Ike Quebec and John Hardee Limited to 5000 copies worldwide. 4 LPs [MR4-107} $36

3 CDs [MD3-107} $45

" ... your graphic department is top-notch. Your logo and label designs are excellent (although very contemporary). .. thanks for another beautiful package

of immortal music. May Mosaic live long and prosper ... p.s. You people are the promptest order fillers I've ever known, by far!!"

Call and order bv phone: 203/327 -71111 Oam-5pm (ET) Mondav-' ~ Fridav or Fax: 203/323-3526 VISA & Mastercard onlv. please. ~


The Conneclion should have launched a long recording career lor Freddie Redd. Inexplicably, it didn't.

There weren't all that many successful jazz "crossovers" in the '50s, and Freddie Redd's work in Jack Gelber's beatnik era off-Broadway play, The Connection, easily qualified as one of the most memorable.

The Connection was an early example of jazz reaching beyond its accepted platform in clubs and concert halls. As Gelber conceived it, jazz would be used, live onstage, as an integral part of the dramatic show. New York pianist/ composer Freddie Redd was hired to write and perform the play's inventive, contemporary score, and when the play became an immediate cult hit, Blue Note signed him. Freddie Redd and his stage quartet (which also included Jackie McLean on saxophone) made their recording debut with The Connection score.

One strike. you're out.

For a time, it seemed that Freddie Redd would have a long recording career ahead of him. But the superb follow-up album, Shades of Redd, which featured Jackie McLean together with Paul Chambers, Louis Hayes, and Tina Brooks, did not sell very well, apparently due to the vagaries of popular taste at the time. And Redd's next session, which i ncluded Benny Bailey on trumpet, wasn't even released. Freddie Redd was never to record again for Blue Note.

A dazzling triple play.

Today, Freddie Redd is still performing ... still known primarily as the man behind The Connection. But as his complete Blue Note sessions demonstrate, he is a superb composer/ arranger and an impeccably tasteful pianist whose entire body of work deserves much wider recognition.

Mosaic's set, transferred directly from the original stereo master tapes, contains everything that Freddie Redd recorded for Blue Note, released and unreleased. Fans of the Shades of Redd album should note that it appears here in stereo for the first time, along with two previously unissued alternate takes.

Tina, 100.

Of particular interest to Mosaic "regulars" is the fact that in addition to expanding the world's view of Freddie Redd, this release also adds significantly to the preciously sparse recorded legacy of Tina Brooks.

The 16-page booklet contains an up-to-. date biography of Freddie Redd, as told to Will Thornbury. Also included are the original liner notes to The Connection and Shades of Redd, a musical analysis provided by Ben Sidran, a


complete Freddie Redd discography, and rare Francis Wolff photographs from the original Blue Note sessions.

"As the incandescent performances on this handsome anthology remind us, Redd was a relentlessly swinging piano player ... "

Jim Miller, Newsweek

"The collection reveals something nobody seems to have noticed before: Redd is one of the very best hard bop composers, the equal of Horace Silver, for example, as well as a most ingenious pianist."

John Litweiler, Chicago Tribune

a ••. the rest of this Mosaic issue, one of the first to be also available on CD, will repay anyone's attention ... "

Brian Priestley, Wire Magazine

" ... an invaluable restoration of this minor piano legend."

Jules Epstein, Philadelphia Tribune

The Complete Blue Note Recordings of Freddie Redd

Limited to 7500 copies worldwide. 3 LPs [MR3-124} $27

2 CDs [MD2-124} $30

"It seems like you either have to bean Uncle Tom or a drug addict to make il in jazz, and I'm nol either one!'

The scene according to Herbie Nichols, who was largely ignored by his peers, the record companies, and the clubs. If fame eluded him, inspir tion didn't; pianist and composer Herbie ichols wrote over 100

~ Call and order bV phone: 203/327-71111Dam-5pm (ET) Mondav~ Fridav or Fax: 203/323-3526 VISA & Mastercard onlv. please.

original and complex jazz compositions (mixed in with poetry, operas, theater pieces, prose, and classical music}.

Imagine Teddy Wilson mingled with Monk.

To paraphrase A. B. Spellman in Four Lives in the Bebop Business, Herbie Nichols' piano playing has both Teddy Wilson's elegant clarity and a complex melodic/rhythmic structure as unique as Monk's.

Sadly, this immense, original talent has a name few people recognize; he spent a lot of his life playing in Dixieland bands. Herbie Nichols only recorded a few tunes for Savoy, two 10- inch LPs, and one 12-inch LP for Blue Note, and a final album for Bethlehem before he died of leukemia in 1963 at the age of 43. Herbie Nichols' revolutionary music is filled with swinging melodic lines and rhythmic density; it is idiosyncratic and brimming with character.

Lost notes found.

Mosaic went into the Blue Note vaults and, to our delight, uncovered eight (untitled) tunes and exceptional alternate takes. The icing on these new discoveries came from Blue Note founder and producer, Alfred Lion. Just two months before his death in February 1987, Lion located his original sessions notes. Now the tunes had titles, plus meticulous notes indicating take preferences of both artist and producer.

Nearly double Ihe amount of Herbie's work on record.

With pride and elation, Mosaic presents The Complete Blue Note Recordmgs of Herbie Nichols, 30 tunes and 18 alternates originally recorded in 1955 and 1956 that amount to five LPs- nearly doubling the amount of Herbie Nichols' work on record. The incredible trio performances feature bassists Al McKibbon and Teddy Kotick, and drummers Art Blakey and Max Roach.

We feel this joyous music is some of the most important ever made.

The booklet included with the set is one of the most comprehensive in Mosaic's history, 16 pages long, befitting the significance of this collection. The intimate personal portrait and musical analysis is by Roswell Rudd. Also included are several unpublished Nichols poems, as well as reprints of his writings on music, a complete discography of his work as sideman and leader, a wealth of previously unpublished photographs by Francis Wotff, and testaments from artists who knew him, including Archie Shepp, Max Roach, and Sheila Jordan.

#1 Reissue of the Year

(1988 down beat International Critics Poll)

"A masterfully assembled reminder of a regrettably ignored artist. It rates an unqualified five stars. n

Leonard Feather, The L.A. Times

"The pain ter ly detail of Nichols' composi tions and the percussive density of his chord clusters will startle anyone who hasn't heard him before. Easily the year's most significant reissue." Francis Davis, Philadelphia Inquirer

The Complete Blue Note Recordings of Herbie Nichols

Limited to 7500 copies worldwide. 5 LPs [MR5-118] $45

3 CDs [MD3-118] $45

Fromlhe end 01 his career, Monk's Black Lion masterworks- including a rare glimpse inside the mind 01 the man.

T" he ye~rs ?f staying tru~ to his calling weren t kmd to The1omous Monk. By the late '60s, he was through with CBS (they wanted an album of Beatles tunes) and performed mostly with a contrived group called The Giants of Jazz. It was financially, but not artistically, rewarding.

Magnificent solos and trios.

The one high point came during a recording session Monk made in London for Black Lion on November 15, 1971. Many listeners regard them, his final recordings as a leader, as equal in quality and inspiration to his first. sessions for Blue Note.

These pianiscic tours de force put to the test, once and for all, the notion that Monk sacrificed technique to serve his style.

All the solos and trios he recorded on that one day, plus an entire nine-cut studio date from Paris in 1954, appear together for the first time on The Complete Black Lion and Vogue Recordings of Thelonious Monk.

First cut worth the price.

The very first cut he recorded in that London studio is worth the price of the whole set alone.

I t was an unfamiliar studio and instrument.

Pianist and piano had to get to know each other. Monk, being a composer, could not carry out even this task wi thou t experimen ting with chords and melodies. What he played in total privacy leads to unprecedented understanding of this great talent.

The set: four LPs, with seven unissued performances and several others previously hard to find. The Paris date is issued for the frrst time with correct titles and improved sound. The twelve-page booklet includes an essay by Brian Priestley (who was present at the Black Lion date), the first biography of Monk's last years, Monk's last down. beat interview, and rare photographs.

#4 Reissue of the Year

(1986 down beat International Critics Poll)

The Complete Black Lion and Vogue Recordings of Thelonious Monk Limited to 7500 copies worldwide.

4 LPs [MR4-112] $36

3 CDs [MD3-112] $45

"Something no one can live without. .. " "A cornerstone 01 modern jazz .• :'

The reissue that won three international awards.

Recording great boogie woogie and swingtet music for Blue N ote took big ears. Recording Thelonious Monk took guts.

In September of 1946, Blue Note's Lion and Wolff made a clean break with tradition, did no

recording for six months, then roared back with modern music. All the sessions that followed were in the modern idiom, and half were led by Monk.

Monk used this opportunity to free the ideas building inside all through his bebop years.

The core recordings 01 Monk's career.

Monk forced his sidemen to work instinctively. Crowded around the piano in his kitchen, they rehearsed what would become among the most important. recordings of all time. This music will be playing forever, but perhaps never again so completely as on The Complete Blue Note Recordings of Thelonious Monk.

Here are the rich compositions that pu t him in the front rank alongside Ellington; the experiments in developing a theme for a particular ensemble; and the unique, mind-bending way he used time, opening gaping holes to snare you, then plunking down on top of you unexpected! y.

1983 Grammy Nominee (Best Historical Album)

#1 Reissue of the Year

(1984 down beat International Critics Poll)

, The Complete Blue Note Recordings of Tbelonious Monk Limited to 7500 copies worldwide.

4 LPs [MR4-101] $36

Not available on CD.

"The best reissues I've seen in the

course of a lifetime in jazz" -Max Harrison



The lirst Bud Powell collection that isn't screwed UP.

.... J:'d be willing to bet 99 percent of the .... ;eople receiving this mailing own at least some Blue Note Bud Powell. What has always puzzled us is the strange way the music has been released throughout the years.

Take Bud's very first session for the label.

Up until now, the 11 tracks recorded that incredible afternoon of innovation and inspiration have been available only on four different albums-never all together and in recorded sequence.

His most spectacular recordings.

So here at Mosaic, we've done the only right thing. At last, it's possible to hear Bud's work complete, whole, and forever on The Complete Bud Powell Blue Note Recordings (1949-1958). By universal assent, the Blue Notes are the most consistent and spectacular recordings by this chief architect of bebop piano.

Ferocious, intricate, dignified, surprisingly joyful. This set corrects the sequence of Bud's first set for the label and adds all of his 1953 date-1 0 definitive performances-for the first time on one LP, in proper order. Included as well are a few relevant alternate takes never before available with the original masters.

Sidemen include Fats Navarro, Sonny Rollins, Roy Haynes, Max Roach, Art Taylor, Philly Joe Jones, George Duvivier, Sam Jones, and Paul Chambers. Five LPs, plus a 16-page

The Complete Bud Powell Blue Note Recordings (1949-1958) Limited to 7500 copies worldwide.

5 LPs[MR5-116J$45

Not available on CD.


booklet, with new rermruscences by Alfred Lion, analysis by Mark Gardner, and Francis Wolff's unpublished photographs of the actual sessions. Hurry. As with all Mosaic sets, when this sells out, we won't press any more.

#3 (tied) Reissue of the Year

(1987 down beat International Critics Poll)

"The set is imperative and the results- indispensable."

Bob Blumenthal, Boston Phoenix

"It's good to have this impressive body of music in one definitive edition."

Francis Davis, Philadelphia Inquirer

"Phantom album" mystery solved!

Here is one that stumped collectors for years. Catalogues listed it-inner sleeve displays pictured its cover. Yet no one had ever seen or heard the album.

The artist was Harold Floyd "Tina" Brooks, a fiery tenor player who appeared frequently as a Blue Note sideman, writer, and arranger.

The missing album? Something called Back to the Tracks- recorded, designed, sequenced, catalogued, forgotten.

His praverful style.

Noone knows why, except those were busy years at Blue Note. Finally he's getting his due, this gentle, neglected man whose prayerful style cleaved firmly to the blues and gospeL Back to the Tracks is just one of two unissued albums, plus two more rare discs, compiled as The Complete Blue Note Recordings of the Tina Brooks Quintets.

Personal solos, distinctive horn voicings, clear, melodic compositions-Tina did it all. This mystery ends in a discovery more rewarding than ever imagined.

The four albums, recorded from 1958 to 1961, feature Art Blakey, Lee Morgan, Sonny Clark, Freddie Hubbard, Blue Mitchell, Wilbur Ware, Paul Chambers, and Jackie McLean. Plus, there's a 16-page booklet with a newly researched biography by Michael Cuscuna, analysis by Robert Palmer, complete discography, and many unpublished photographs, including a shot of the unused Back to the Tracks cover.

#2 (tied) Reissue of the Year

(1986 down beat International Critics Poll)

"An unacknowledged master."

Richard Williams, The London Times

~ Call and order by phone: 203/327 -711110am-5pm (ET) Monday~ Friday Dr Fax: 2031323-3526 VISA & Maslercard only, please.

"Thank you for the countless hours of joy thac you have enabled me to experience through the unforgettable music of Tina Brooks."

From a customer in Washington, DC

"Your Tina Brooks set was the greatest of all my record buying. Sheer magic!"

From a customer in Leicestershire, England

"Include/s) his rare True Blue, one of the greatest albums Blue ote ever released." Jim Miller, Newsweek

The Complete Blue Note Recordings of the Tina Brooks Quintets Limited to 7500 copies worldwide. 4 IPs [MR4-106] $36

Not available on CD.

"Dry martinis."

That's Paul Desmond's own description of his celebrated sound: the sexy, subtle alto, cutting through the counter rhythms and affirmative chords of the Dave Brubeck Quartet. Tangible. Minimal. Sophisticated. Straight up.

SilUpatico seUing.

Now hear that sound in a very different setting. Quieter. Less about contrasts, more about simpatico. Introducing The Complete Recordings of the Paul Desmond Quartet with jim Hall.

Here, Desmond's lyrical phrases join with the swinging perfection of Jim Hall, the quiet authority of Modern Jazz Quartet drummer Connie Kay, and either Percy Heath, Gene Wright, or Gene Cherico on bass to create masterful sides. The quartet sounds like they played together for years, though they never played a single live gig.

This is Desmond as leader and musical organizer, whose wit and warmth come singing through his song choices, his arrangements, and his compositions.

A great six-y,ear studio matchup.

. The sessions are gathered chronologically into one six-LP set, beginning with a 1959 Warner Bros. album and continuing into 1965 with four more RCA albums. Included are a rare title that only appeared on a Playboy Records anthology and 12 previously unissued performances from the RCA years.

A 12-page booklet contains a new essay from Desmond's close friend, journalist Doug Ramsey, as well as reprints of some of Desmond's famed dry prose: "I have won several prizes as the world's slowest alto player, as well as a special award in 1961, for quietness."

#4 (tied) Reissue of the Year

(1988 down beat International Critics Poll)

"This six- record album glows like warm coals." R. C. Smith, Durham Morning Herald

"Jazz is rarely as pretty as this; and jazz this pretty is practically never so full of substance." Richard Williams, The London Times

"I~'s a teaming made in lyrical heaven. Entering this world of breathy beauty and ready wit, y.ou'll find it perfectly easy to sail through all SIX records and then start over again. And again. "

Lloyd Sachs, Chicago Sun Times

The Complete Recordings of the Paul Desmond Quartet with Jim Hall Limited to 7500 copies worldwide.

6 LPs [MR6-120] $54

4 CDs [MD4-120] $60

Why is the world ignoring Buddy DeFranco?

.....Tame three bebop clarinetists. Every- 1 .,. 'body knows the saxophone players, trumpeters, pianists, and drummers. But since bebop clarinet is so rare, De ranco just gets lost completely.

DeFranco was a virtuoso on the instrument.

A classicist until he discovered Goodman DeFranco fell into the" new thing" on the road: v.:hen he and other venturesome swing musicians would transpose Parker's solos down in the basement.

He pushed the clarinet's limits.

D.eFrancc:;> ~as constantly experimenting, pushing the limits of the instrument. He played Geor~e Russell's music, in Basie's septet, in his own Ill-fated big band, then he went on the ~oad with a quartet. Sonny Clark was the pianist (after Kenny Drew). It was one of the most tight-knit, fun-loving, versatile organizations around, with Gene Wright on bass and Bobby White on drums.

~ere are all the originally scattered and, until now, long-out-of-print recordings of The Complete Verve Recordings of the Buddy DeFra:nco Quartet/Quintet with Sonny Clark (the fifth was the occasional collaborator, Tal Farlow). Recorded in 1954 and 1955 these selections show Buddy's remarkable facility and J?astery of harmony on standards by Arlen, Berlin, Gershwin, and Rodgers, as well as classics by Pettiford, Parker, Mulligan, Billy Taylor, and more.

Complete and chronological.

!'- five-record set, complete and in chrono- 10~lcal sequence, it includes a 12-page booklet ~lth a n~w essay by Ira Gitler, the original vintage liner notes from the sessions a new

. . '

m terview wi th DeF ranco, and rare photographs.

We've got a special affection for this music.

If you don't know about Buddy DeFranco pick up this set. '

"The preferred clarinetist of Art Tatum Count Basi~,.Lester Young, and countless other jazz musicians, DeFranco was to the clarinet what Powell was to the piano."

Leonard Feather, The L A. Times

"This is simply a joy, definitive modern clarinet pairing and ample exposure for Mr. Clark, one of the finest modern pianists."

Robert Palmer, The New York Times

"For those who love the oft-neglected beauties of the clarinet, The Complete Verve Recordings of the Buddy DeFranco Quartet/Quintet with Sonny Clark is essential, .. with a characteristically informative, attractive book."

James Isaacs, Folio

The Complete Verve Recordings of the Buddy DeFranco Quartet/Quintet with Sonny Clark.

Limited to 7500 copies worldwide. 5 LPs [MR5-117] $45

4 CDs [MD4-117} $60


... I learned about your

company about a year ago and since that time I've

had nothing but pleasant dealings with you. On the phone you are always helpful and your shipments get here amazingly fast. The best thing, of course, is the music- I'm totally knocked out ...

Thanks a bunch for all your efforts in restoring this music and in treating folks right."



Meet Clinord Brown, just belore his big break.

1"1 an Clifford Brown have made all '-.; that recorded music in less than four years? Sometimes it takes researching anthologies like this to realize it.

Brownie's talent? Nothing short of awesome. Technique? Unmatched, but never flashy. His style and phrasing? Like a singer's. That beautiful.

~~st people honor this legendary mUSICIan for the Max Roach/Clifford Brown Quintet, a group active until an auto crash in 1956 killed Brown. The Complete Blue Note and Pacific Jazz Recordings of Clifford Brown came first, revealing Brown was fully developed, even before joining co-leader Roach.

His first recordings.

New York: The first session from 1953 was co-led by Lou Donaldson and featured Elmo Hope, Percy Heath, and Philly Joe Jones. (Two days later, writer Ira Gitler heard Brown for the first time. He reports, "I nearly fell off my seat.") His second session was a J. J. Johnson date with Jimmy Heath John Lewis, Percy Heath, and Kenny Clarke.

The third featured Gigi Gryce, Charlie Rouse, John Lewis, Percy Heath, and Art Blakey. Then Blakey led Donaldson, Horace Silver, Curley Russell, and Brown live at a magical Birdland session. They played as if anyone of them could have been the leader.

L.A.: Clifford had already joined Max, but he made two dates for Pacific Jazz with

The Complete Blue Note and Pacific Jazz Recordings of Clifford Brown Limited to 7500 copies worldwide.

5 LPs [MR5-104] $45

Not available on CD.

Less than 500 copies remaining.



Zoot Sims, Russ Freeman, Shelly Manne Stu Williamson, Bob Gordon, J oe Mondr~gon (replaced by Carson Smith on the second session), and Jack Montrose.

Includes unreleased gems.

Five LPs contain all of Clifford's live and studio dates for Blue Note and Pacific Jazz with seven tracks never before released. Th~ 12-page booklet includes an essay by Gitler, rare photographs, and a lovely reminiscence by Brownie's widow, LaRue.

#1 Reissue of the Year

(1985 down beat International Critics Poll)

"This set stretches the five-star rating to its outermost limits."

Leonard Feather, The L.A. Times

"That it belongs in every jazz record collection should go without saying." Francis Davis, Musician Magazine

8m Call and order bv phone: 2D3/327-71111Dam-5pm lET) MondavFridav or Fax: 203/323-3526 VISA & Mastercard onlv, please.


Mosaic stands by its plan.

We started Mosaic with an ambitious agenda of standards and goals that, to this day, is still the guiding force behind everything we do.

Important artists. Not lust the biggest.

The artists we choose are selected for their place in the history of American music. Music, above all, is what determines if an artist belongs on Mosaic.

You won't necessarily find us going for the


big, commercial names. But, neither will you find us discriminating against them. Here, for the first time anywhere, Brooks and Nichols are cherished on equal terms with Monk and Mingus, as well as Mulligan and Getz.

Everything you expect. And more.

Choosing the artist is only half the battle.

The other half is deciding upon a historically viable concept. We want Mosaic sets to be as important, and as complete as we can make them. Our sets include every significant track


"Frank, vou're clicking on mv record!"

That's what Alfred Lion exclaimed to his partner Francis Wolff during a Blue Note recording session 35 years ago.

In fact, Francis Wolff photographed every Blue Note session from 1944 to 1967, amas s in gap rice I ess co lIec ti 0 n of jazz photography.

Francis Wolff bequeathed this treasure to Alfred Lion in 1971, and when Lion passed away, his wife, Ruth, invited Mosaic Records to organize and administer the collection. Three of the most striking and historically significant photographs are now being made available to jazz lovers.

Classic Blue Note cover photographs.

Few knowledgeable record collectors will fail to recognize these three photographs.

• JOHN COLTRANE: the shot which graced the cover on his 1957 album, Blue Train.

• SONNY ROLLINS: the same picture you know from the cover of Sonny Rollins, Vol. 2, another 1957 recording session.

• ART BLAKEY: the joyful photograph which was used on the cover of his 1960 album, The Big Beat.


Impeccable reproductions.

Each photograph will be available in two limited-edition formats: numbered and authenticated custom-processed, museumquality photographic prints, and numbered photographic reproduction posters. We are giving our Mosaic Records customers the first opportunity to purchase these historic Francis Wolff works.

Late News

At press time, our John Coltrane prints had completely sold out and our Sonny Rollins prints were almost sold out. If you aren't already on the mailing list for our separate Mosaic Editions brochure, and want to make certain you do not miss out on remaining prints in this series or on all future offerings, please call or write:


35 Melrose Place Stamford, Connecticut 06902-7533

(203) 327-7111

(203) 323-3526 FAX

.... COWCT1II'S 11111: This classic francis WoHl photograph of Sonn, Rollins was laklll1ln Apllll957 and used fOr IIIe cover of his Blue Nolt album, SonnY Rollins. Vol. 2. PlclUnd hen Is a IlmllBd-lIdttloo poster. h is one of Ibt Ibne WoHl works offend by Mosaic EdlUons, l1li' new service far collectors ill nne jazz photograph,.

that falls within the scope of a given project, presen ted in an a rganized, chronological manner usually for the first time ever. We go into the vaults of as many record labels as necessary to examine all their original session tapes. In addition to previously Issued material, Mosaic sets are usually rich with unreleased tracks and valid alternate takes. It's no accident we're considered the label for fans and collectors "who want it all."

Information, photos, and more Information.

To put everything into its proper and fascinating perspective, Mosaic commissions leading authorities to write our booklets and supply collectors with all pertinent dates, personnel listings, and discographical information. Interviews and session photographs are included whenever possible. Enlightening musical overviews are a matter of course.

The best we know how to make.

When it comes to our physical product we take a unique "cost is no object" approach. We're convinced that our pressing plant, our printer and our box fabricator are the best in the country.

Limited Editions make important music into important recordings.

Mosaic sets are limited to no more than 7,500 worldwide. (Occasionally even less.) Once they are all sold we will never make them available again, adding immeasurably to the future value and historical significance of the Mosaic sets you buy.

And speaking of value, that's a basic tenet of ours. Despite our virtual monopoly on the type of projects we deal in, Mosaic prices are competitive with common records and CDs. Record sets are priced at $9.00 per LP (until October 1st, 1991- when the price will increase to $10 per LP). CD sets are priced at $15.00 per CD. The booklet, the box and the service come to you at no additional charge.

We make ordering easy. And we guarantee satisfaction .

You can use the order form in this brochure to order Mosaic sets. Or simply call during working hours and tell us what you want. You'll be speaking to a member of the Mosaic family, not a 1-800 order taker. You may pay with VISA or MasterCard, check or money order in U.S. currency. Furthermore, everything we sell is fully guaranteed. Just say the word and we 'Il replace a defective record ... a botched booklet ... a worn box ... even a postal-damaged entire set.

That's the way we first set out doing business. And, by sticking to the plan, we're still in business eight years later.


35 Melrose Place' Stamford, Connecticut 06902 (203) 327-7111

fax: (203) 323-3526

Bulk R<tte U.S. Postage PAID

Old Greenwich, Conn.

Permit 0.46

NEW: Count Basie • Larry Young • Stan Kenton • Commodore, Volume III

" 1990 Golden Feather Award; Record Company of the Year" -Leonard Feather,

Los Angeles Times

"Jazz, well into its nineties, has become archival.

Indeed, Mosaic Records, in Stamford, Connecticut,


has become the jazz

counterpart of the Library of America. " - Whitney Balliett, The New Yorker


UNCONVENTIONAl.: h loolui like a standard ABantlc City PUblicity shut, and n Is. Bill l1li Stall KtIIIt1In band, POSIIIII bert on IIItI S1ee1 Plar In 1953, was anrIhlng bill a cllc .. La Its a\llKllach 10 on:fIest'aI'm. A IJ8W MDS&Ic set collects Kenton's complete Holman and Russo Capilli I mordlngs IrOm lIIe era. PbolOgrap/I I.s courtasJ of The frink Driggs CollacUon.


Mosaic-the lirst 28 minutes.

In 1 981, while exploring the Blue Nole tape vaults, producer Michael Cuscuna discovered 28 minutes 01 rare, unissued Thelonlous Monk.

It was not enough material to issue as an album, and it was too important a find to deny to the jazz community, so Michael had a radical idea. Since Monk's Blue Note releases had always been a discographical nightmare, why not issue a once-and-for-all-time definitive Monk-on-Blue-Note boxed set?

He brought the idea 10 the one record executive he lell would undersland ... fellow Jazz lover Charlie Lourie.

Sure enough, Charlie was enthusiastic. Together, we took it to Capitol/Elvll, the new owners of the Blue Note catalogue. But the industry was in an unprecedented slump, and nobody saw a deluxe, multi-LP Monk set as EMI's ticket out.

In a burst of desperate inspiration, we leased the material and put it out ourselves, effectively forcing Mosaic Records into business.

The Complete Blue Note Recordings of Thelonious Monk became the first Mosaic set - and the first Mosaic set to sell out! It also set the standards that, to this day, are still the guiding force behind everything we do.

Everything YOU expect. And more.

We want every Mosaic set to be as important and as complete as we can make it. Our sets include every significant track that falls within the scope of a given project, presented in an organized, chronological manner ... usually for the first time ever. We go into the vaults of as many record labels as necessary to examine all their original session tapes. In addition to previously issued material, Mosaic sets are often rich with unreleased tracks and valid alternate takes. It's no accident we're considered the label for fans and collectors "who want it all."

Information, photographs, and more information. To put everything into its proper and fascinating perspective, Mosaic commissions leading authorities to write our booklets and supply collectors with all pertinent dates, personne1listings, and discographical information. Interviews and session photographs are included whenever possible. Enlightening musical overviews are a matter of course.

The best we know how to make.

When it comes to our physical product we take a unique "cost is no object" approach. We'r.e convinced that our pressing plant, our printer and our box fabricator are the best in the country.

Limited Editions make Important music Into Important recordings.

Most Mosaic sets are limited to no more than 7,500 worldwide. (Occasionally even less.) Once they are all sold they will never be available again, adding immeasurably to the future value and historical significance of the Mosaic sets you buy.

And speaking of value, that's a basic tenet 01 ours.

Mosaic prices are competitive with common records and CDs. Record sets are currently priced at $9 per LP, except for new releases. (After October Ist, 1991, the price of all sets will be raised to $10 per LP.) CD sets are priced at $15 per CD. The booklet, the box, the service comes to you at no

additional charge. .

We make ordering easl.And we guarantee satiSfaction.

Y ou can use the order form in this brochure to order Mosaic sets. Or, to keep the brochure intact, simply call during working hours and tell us what you want. You'll be speaking to a member of the Mosaic family, not a 1-800 order taker. You may pay with Visa or Mastercard, check or money order in U.S. currency. Furthermore, everything we sell is fully guaranteed. Just say the word and we'll replace a defective record ... a botched booklet ... a worn box ... even a postal-damaged entire set.

Mosaic stands bV Its plan.

Music, above all, is what determines if an artist belongs on Mosaic. The artists we choose are selected for their place in the history of American music.

You won't necessarily find us going for the big; commercial names. But, neither will you find us discriminating against them. Here, for the first time anywhere, Brooks and Nichols are cherished on equal terms

with Monk or Mingus, Bechet or Getz. .

That's the way we first set out doing business. And, by sticking to the plan, we're still in business eight years later.


Set Description


LP II LP Priet· CD II CD Price Pg II

Hall/johnson/De Paris/Dickenson Sidney B ech et Charles Mingus Thelonious Monk (Black LionN ogue) MR4-112 $36 Chet Baker (Live) Art Hodes

Thelonious MOlLk (Blue Note) Gerry Mulligan


Ada ... wnnu

We have good news and we have bad news about our LP prices.

.First the good news: We're not raising most of them now. N ow, th e bad: Effecti ve October 1,1991, we will announce a price increase for Mosaic LPs from $9 per LP to $10 .. (In fact, the new releases in this brochure are already at the higher price, but we're holding the line on all of our other offerings un til October 1 st, 1991.)

Since so many of our customers are old friends of Mosaic, we thought you'd like to have ·some advance notification of this increase, which we can no longer avoid because of the costs associated with pressing the finest vinyl records today.

Quebec/Hardee Port of Harlem


Clifford Brown ALMOST SOLD OUT

Art Pepper AlMOST SOLD our Tina Brooks



Gone Bona Bolng

The following Mosaic LP sets have already sold out and are no longer available from us:

• The Complete Pacific Jazz and Capitol Recordings of the Original Gerry Mulligan Quartet and Tentette with Chet Baker. (The LP is sold out; fewer than 1000 CDs remain)

• The Complete Blue Note Recordings of Th elonio us Monk

• The Complete Recordings of the Port of Harlem Jazzmen.

• The Complete Blue Note Recordings of Albert Ammons and Meade Lux Lewis.

(Although these Mosaic sets are gone, the original Blue Note records by Thelonious Monk can be obtained at serious record stores, or through our own True Blue Music service. They aren't as beautifully annotated or lavishly packaged as our Mosaic sets, but the music is still available. Call or write to us at Mosaic to order directly, or for further information.)

The following Mosaic LP sets are dwindling in supply:

• The Complete Commodore Jazz Recordings, Volume I, (Fewer than 150 sets rernain.)

• The Complete Blue Note and Pacific Jazz Recordings of Clifford Brown (Fewer than 500 sets rernain.)

• The Complete PacificJazz Small Group Recordings of Art

Pepper (Fewer than 1000 sets rernain.) 0&-


Bud Powell

Buddy Defranco Herbie Nichols

Johns on/Hines/B unn Paul Desmond

Ike Quebec (45 Sessions) Chet Baker (Studio)

Complete Commodore Vol. I ALMOST SOLD our

Freddie Redd

Shorty Rogers Johnny Hodges Cecil Taylor

Complete Commodore Vol. II Benedetti/Charlie Parker

BI" Certlflcales

A Mosaic Gift Certificate allows you to make a wonderful and generous gift, while allowing the recipient to have the fun and pleasure of choosing his or her own favorite sets.

We'll be happy to arrange. it. Just write "Gift Certificate" and the amount you choose - any amount is fine - on the Order Form and we'll send the certificate to you directly, or to the recipient with a notation, as you direct us ..

T·Bone Walker

Sian Gerz

George Lewis Grant Green

Complete Commodore Vol. III

COUnt Basie

Stan Kenton

Larry Young

MRS-I04 $45
MR3-105 $27
MR4-106 $36
MR4-107 $36
MR6-109 .$54
MR6-II0 $54
MR4·lll $36 MR4-113 $36
MR5-J14 $45
MRI·1J5 $9
MR5-116 $45
MRS-Jl7 $4S
MR5-118 $45
MRI-119 $9
MR6-120 $54
MR3-121 $27
MR4-122 $36
MR23-123 $207 MR3-124 $27
MR6-125 $54
MR6·126 $54
MR6-127 $54
MR23-128 $207
MRIO-!29 $90
MR9-130 $81
MR4-131 $36
MRS-I32 $45
MR5·133 $45 MR20-J34 $180

MRI2·135 $120 MR6-136 $60 MR9-1J7 $90

NIA N/A 27
MD3-I02 $45 20
N/A N/A 30 N/A

N/A 18-19


N/A 28

MD3·107 $45
MD4-109 .$60
MDHIO $60 25



MD3·111 $45 20-21
MD3-1l2 $45 27
MD3-113 $45 1.8
MD4·1H $60 18
N/A N/A 25
NIA N/A 2~
MD4-117 $60 2'
MD3·118 $45 26·2:
N/A NlA I·
MD4-12Q $60 28-2'
MD2-121 $.30 I.
MD3-122 $45 2(
MDl-124 $30 26
MD4·125 $60 19
N/A N/A 16
MD4-127 $60 21
MD7·129 $105 1.2-13
MD6-130 $90 12
MD3-13I $45 11
1'0.103-132 $45 13
MD4-133 $60 11
!lilA N/A 9
MD8-135 $120 4
MD4-136 $60 5
MD6.-D7 $90 4·5 " PlerlSt Note: AI ofOclObl.'r I, 1991 aI/ LP prices im-re ... e from $9/ LP 111 $10! LF excepl' MRI2-/J$,. MR6-1J6, .. nd MR9-1J7 .


The rapid, courteous way that orders are handled by

Mosaic is unmatched by any mail-order company I've seen. I'm so satisfied I'll probably send you all my money."

-From a customer in West Babylon, NY


AU our sets are strictly limited and are apt to sell out. If you're not ordering at this time, please pass this brochure on to a friend.








Order Code"

Daytime Phone

D Check here if this is a new address.

'l' You can find this order code on the upper right-hand corner of the address label. If there's none there, skip it.


When you send a Mosaic collection as a gift, we can ship it directly to the recipient, if you prefer.









If you have friends who would like to receive the Mosaic brochures, give us their names and addresses and we'll get them right out.







Country .

2 ...







PLEASE NOTE: Some sets are available as LPs and CDs; others are on LP only. Check the ordering guide at the left for details.

Artl., lecord' / CII Qty. Prlc • ..c. ,.,.1 "Ic. (If you need more room, continue on a plain sheet of paper and attach.)

Subtotal _

Connecticut residents add 8% sales tax _

Shipping _

Special Commodore Shipping _

Optional insurance _

Final total _


o ¥'IS' 0 .. , •• re.rtI



Account No.

Expiration date

Authorized signature

"Great record label. Lousy envelope glue."

- from a customer in N. Y. C

May We Have Just a Few Minutes of Your Tilne?

Mosaic Records customers have always been generous with their opinions and ideas about how we're doing. That's why we are asking for your help. By knowing a little more about you, we may be able to offer you record sets and other products and services you want. Please fill out this questionnaire. There is no need to sign it--we want you to know your responses will be treated confidentially. (We never sell our list of customers to other merchants anyway.)

Please mail to:

Mosaic Records

35 Melrose Place Stamford, cr 06902

Or, if you're ordering by mail, you can enclose this questionnaire with your order form.

How did you first hear about Mosaic?




o Article in --:-~--:-_-----------


o Radio station mention on


o Recommended by a friend

o Brochure sent to me

OOther _

How do you become aware of new Mosaic collections? .







D Radio station mention on _

D Recommended by a mend

DBrochure sent to me



How often do you buy a Mosaic collection?

D Only when I receive a new brochure o 1-3 times a year

How many Mosaic sets do you own?

00 D 1-3

04-8 08-12 D more than 12

How big is your collection of:

Dunder250 0250-500 500-1000 Dover 1000
Ounder100 0100-250 0250-500 Dover 500
Ounderl00 D 100-250 0250-500 Dover 500 Which do you prefer?




o More than 3 times a year

o Less than once a year

Would you buy Mosaics on cassette if available?



How many sound recordings do you buy a month?




D more than 12

What other types of music would you like on Mosaic?

What period of jazz would you be interested in buying?


o '30s 0 '40s o '50s 0 '60s

(please check all that apply)


What style of jazz would you be interested in buying?

o Traditional

o Swing-Big Band o Swing-Small Group

OWest Coast o Modem/Avant Garde

(please check all that apply)

Does buying jazz photography interest you?

,DYes ONo


Does buying jazz video interest you?

DYes ONo

o Bebop

Which artists would you most like to see?

Does buying recorded comedy interest you?

DYes ONo

Would you like other products from Mosaic Records?

Suchas __

Do you shop in record stores?





Which critics/writers influence you?

Are you:

OMale OFemale Ounder IS 01S-24

025-34 035-44 045-54 0 over 55

What is your annual income?

o under 20,000/year 035,000-49,000

020,000-34,000 050,000-79,000

Dover SO,OOO

What magazines/newspapers do you read?

o~ __

o~' ___

O~ ___



o~· ___

Please check the magazines or newspapers above which influence your purchase of recordings ..

What is yoW" highest level of education?

D High School

o College

o Graduate School

How can we improve our products? _

Our service? _

Other comments?


(Feel free to use a separate sheet of paper If you need more room)