You are on page 1of 35


• The Complete Deen Benedetti Recordings of Charlie Parker
The Complete Recordings of T-Bone Walker 1940-1954
The Complete Blue Note Recordings of George Lewis
The Complete Recordings of the Stan Getz Quintet with Jimmy Raney
The Complete Blue Note Recordings of Grant Green with Sonny Clark

Hi'M j] h'31 TrSiifl


LOST... AND FOUND! Unless you took the advice of Pincus,
unofficial "mayor of 52nd Street," and entered the smoky
aX roach DRUMS
Three Deuces Club, you've never heard the music on

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

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with Blue Note in 1960, and the albums began Bob Blumenthal and many unpublished session how it should be done.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

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

A passion for the music.
Lion went after the pure, unadulterated
He had a powerful tone, thick vibrato, and One of the earliest
unflagging energy. He was the first true master
thing whenever he recorded. He had a passion of the soprano saxophone. "super sessions" created
for the music and recorded the music he liked.
This, together with his penchant for quality,
New transfers add clarity. Blue Note's first hit.
make the Blue Note catalogue the awe-inspir Bechet appeared from 1939 to 1953 on 13
sessions for Blue Note, 10 as leader, yielding
ing historical record it is. these 74 selections. Mosaic presents them on
Three very early sessions demonstrate Lion's
six LPs, many tracks taken from new disc Boogie Alfred
woogieLion, whowas
piano gave
love of
ability to elicit great performances by putting transfers to give added clarity. Including 13
the best players in compelling new environ port in 1939 to record Albert Ammons and
ments. We've compiled them on a new Mosaic unissued tracks and four titles previously Meade Lux Lewis.
available only on 10-inch LPs or 78s. The third session on his fledgling label was
LP, The Pete Johnson! Earl Hines/Teddy Bunn
Blue Note Sessions. A 16-page booklet includes a bio by John an experimental unit which united trumpeter
Chilton, musical analysis by Max Harrison, a Frankie Newton, J. C. Higginbotham on
Tracking down the greats. full discography, rare photographs, and Blue trombone, guitarist Teddy Bunn, bassist Johnny
Lion tracked down Earl Hines in July 1939 Note cover art from the '40s.
and convinced him to record two intimate (In order to be complete in each case, this THE COMPLETE RECORDIN
piano solos for a 12-inch 78. These are dazzling collection includes three selections from the THE PORT OF HARLEM JAZZME
cuts from the heart of improvisation, quite Port of Harlem LP and seven selections from
unlike most of Hines' discography. the Art Hodes set.)
In December, he enticed boogie woogie
master Pete Johnson into the studio for two #3 (tied) Reissue of the Year
piano solos and four stompin' sides with bass (1986 down beat International Critics Poll)
and guitar. This is blues and boogie at its finest.
Solo jazz guitar? Okay by Alfred Lion, who "One of the invaluable series of collections on
recorded Teddy Bunn playing unaccompanied Mosaic Records."
in March 1940. The results are exceptional. John S. Wilson, The New York Times
With this Mosaic release, we've reached a
".. .a monument, demonstrating Bechet's con
milestone: the completion of our exhaustive
sistency and drive in any setting."
program of restoring and issuing all but two of Eric Levin, People
the great traditional jazz and boogie woogie
Blue Note sessions of the 78 era. Includes an
insightful essay by Stanley Dance.
"Romping, stomping boogie woogie from
pianist Johnson." The Complete Recordings of the Port
Bob Claypool, The Houston Post
of Harlem Jazzmen.
Limited to 5000 copies worldwide.
"A valuable disc for the historical documenta
1 LP [MR1-108] $9
tion of the solo Johnson and the oft overlooked
Bunn." Not available on CD.
Alan Bargebuhr, Cadence

Williams, drummer Sid Catlett, and pianist
Albert Ammons.
His tone could fill the Polo All their classic 78s, all together.
Grounds—one of the giants The Complete Recordings of the Port of
Harlem Jazzmen includes all their 78s, cut on
of jazz, Sidney Bechet. two separate days (the second one with Lewis
instead of Ammons, and Sidney Bechet on
The Complete Blue Note Recordings clarinet and soprano saxophone).
|^W ew Orleans, teaming with culture from We get to appreciate the wailing melancholy
-1- ™ many nations, gave birth to Bechet and of Sidney Bechet of Bechet, the buzzing, colorful statements by
Limited to 7500 copies worldwide.
his sound. It also filled him with the urge to Newton, Bunn's drama, Higginbotham's con
6 LPs [MR6-110] $54
travel. He stomped 'round the world while still fidence, with Ammons and Lewis tying it all
Not available on CD.
in his twenties. Russia. Egypt. He played for together.
the king of England, banged around in bistros, A real treat: "Summertime," with Bechet on
ran a Harlem speakeasy, did time in Paris... soprano, the record that racked up the coins in
He was all over the globe, making every jukeboxes as Blue Note's first hit.
musical note count.
Every time I play one of your #3 (tied) Reissue of the Year
An astonishing improviser.
Bechet had an astonishing ability to im (1985 down beat International Critics Poll)
provise. The Complete Blue Note Recordings records, I want to say thanks...
of Sidney Bechet is a reminder of his substantial


OR FAX: 203/323-3 5 26 I (I \ 11 - i l M I | i; I ) VISA & MASTERCARD O N L Y, PLEASE
M O S A 1 € P R ON I S E S
Mosaic stands by its plan. We make ordering easy. And we guarantee order in U.S. currency. Furthermore, every
We started Mosaic with an ambitious agenda satisfaction. thing we sell is fully guaranteed. Just say the
of standards and goals that, to this day, is still You can use the order form in this brochure word and we'll replace a defective record... a
the guiding force behind everything we do. to order Mosaic sets. Or simply call during botched booklet... a worn box... even a postal-
working hours and tell us what you want. damaged entire set.
Important artists. Not lust the biggest. You'll be speaking to a member of the Mosaic That's the way we first set out doing busi
The artists we choose are selected for their ness. And, by sticking to the plan, we're still in
family... not a 1 -800 order taker. You may pay
place in the history of jazz, or in the case of T- with VISA or MasterCard, check or money business eight years later.
Bone Walker, blues. Music, above all, is what
determines if an artist belongs on Mosaic.
You won't necessarily find us going for the
big, commercial names. But, neither will you
find us discriminating against them. Here, for CRITIC QUOTES
the first time anywhere, Brooks and Nichols
are cherished on equal terms with Monk and well as Mulligan and Getz. ".. .most of the jazz world agrees that this type "Missing for a long time from American jazz
of quality recording, pressing, and packaging reissues was fresh thinking, a new method, an
Everything you expect. And more.
Choosing the artist is only half the battle. represents the way jazz should be documented. original and consistent point of view. But these
The other half is deciding upon a historically These dedicated jazz producers deserve our qualities, and a great deal more, have been
viable concept. We want Mosaic sets to be as acclaim and support even if we have to miss a supplied by the small Mosaic concern, which is
few meals to own the products." now entering its seventh year. It was founded
important, and as complete as we can make
them. Our sets include every significant track Jerry Atkins, IAJRC Journal by Michael Cuscuna and Charlie Lourie—
that falls within the scope of a given project, both with wide experience of the record indus
presented in an organized, chronological "For the serious jazz listener on your list I try behind them—and until recently had no
manner usually for the first time ever. We go have two words: Mosaic Records. Headed by further staff, and was run from Lourie's home.
into the vaults of as many record labels as jazz fanatics— and historians—Michael Cus- The Mosaic enterprise has several unusual fea
necessary to examine all their original session cuna and Charlie Lourie, the company re tures, each one of them crucial."
leases sets of an artist's complete work in Max Harrison, Hi-Fi News and Record Re
tapes. In addition to previously issued mate
rial, Mosaic sets are usually rich with unre- limited, numbered editions—usually 5,000— view
leased tracks and valid alternate takes. It's no on audiophile quality vinyl. My favorite Mo
accident we're considered the label for fans and saic, so far, is The Complete Candid Record
collectors "who want it all." ings of Charles Mingus. These are the sides "The sets devoted to trumpeter-composer-ar
that first introduced me to Mingus in the early ranger Rogers (who was a leading figure in the
Information, photos, and more information. '60s, and they include some hair-raising music development of the West Coast sound) and
To put everything into its proper and fasci from Mingus, Eric Dolphy, and the recently bop pianist Redd (who is best known for hav
nating perspective, Mosaic commissions lead departed Danny Richmond. Included are the ing composed the music for the stage play and
ing authorities to write our booklets and sup civil rights suite "Original Faubus Fables," film The Connection) reward repeated listen
ply collectors with all pertinent dates, person "All the Things You Could Be Now if Sigmund ing."
nel listings, and discographical information. Freud's Wife Was Your Mother," the great Robert Derwae, Cleveland Plain Dealer
Interviews and session photographs are in "Reincarnation of a Love Bird," and a mind-
cluded whenever possible. Enlightening musi boggling "Stormy Weather."
cal overviews are a matter of course. J. Poet, San Francisco Weekly "Mosaic ... has set standards for taste, quality,
The best we know how to make. and prompt service unmatched in the indus
When it comes to our physical product we "It goes without saying— or it should by now try... you're sure to salivate."
take a unique "cost is no object" approach. after 27 Mosaic releases—that sound quality is Gene Kalbacher, CM] New Music Review
We're convinced that our pressing plant, our of an excellence that has seldom been matched
in the reissuing of jazz classics."
printer and even our box fabricator are the best W. Royal Stokes, Jazz Times
in the country. "And for jazz-o-philes, the Mosaic catalogue
still reads like a letter from home: witty, infor
Limited Editions make important music into "...the most careful of all jazz reissue labels." mative, and chock full of love."
important recordings. Nat Hentoff, The Wall Street Journal Joe Vanderford, Spectator
Mosaic sets are limited to no more than
7,500 worldwide. (Occasionally even less.)
Once they are all sold we will never make them
available again...adding immeasurably to the
future value and historical significance of the
Mosaic sets you buy.
And speaking of value, that's a basic tenet of
ours. Despite our virtual monopoly on the
type of projects we deal in, Mosaic prices are
competitive with common records and CDs.
Record sets are priced at $9.00 per LP. CD sets
are priced at $15.00 per CD. The booklet, the
box and the service comes to you at no addi NlOSaiC Records Brochure NO. 7: was created by Fred/Alan Inc. was written by Marty Pekar.
tional charge. was designed by Spot Design, pages composed by Craig Edwards.

R F A X : 2 0 3 / 3 2 3 - 3 5 2 6 1 O A M - 5 P M ( E T ) V I S A & M A S T E R C A R D O N LY, P L E A S E .