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FI R ST T HI N G S FI R ST

••••••••••••••••••••••••••••• we did just that.. Since then we've come to produced these sessions, created the sort of
Ten years in the making. you from real offIces and a real warehouse nUl"turing, unencumbered almosphere in
and there are five other people hel'e to talk the studio which inspired artists to go
to. Their names ar'e Phyllis, Margaret, beyond the perfunctOl"y and reach below
everal years ago, while accepting an

S Oscar, Maureen Stapleton stated,


"I'd like to thank everyone I ever
met in my life." Although I'm not quite
Ann, Scott and Lloyd. These are bright
people who love music and care about what
they're doing, which is a bit of a novelty
these days.
the surface. The results are six LPs/four
CDs of absolutely beautiful so.lo piano musie.

Rudy Van Gelder speaks out.


ready to do the same, I do want to thank We',"e a.lso happy to bring yOll in lhis
Along with growth comes change, and
everyone who's ever bought a Mosaic col- for me it's always a big change when one of brochlu"e some rat'e public comments by
lection. It's hard to believe, but before our sets sells out. The Blue Note Monk, the Rudy Van Gelder, the brilliant recording
1992 comes to a close, Mosaic will celebrate enginee.- who almost single-handedly is
GelTy Mulligan, the AmmonslLewis, the
its 10th anniversary. And, of cour'se, any- responsible fOt, the way we hear jazz on
Clifford Brown and the Po.-t of Hal"lem
one who bought anything from us dlll-ing record. The whole subject of digital
collections al'e sold out now and I feel like
that time helped to get us hel-e. So thank I've lost some old and dear friends. But I'm remains controversial and Rudy's com-
you one and all! ments on this are of particular' intet'est.
consoled and excited by all of oUI' new sets
We've come a long way since releasing - the ones we't'e t'e1easing right now and the For the future, we've got many projects
om' first collections. For three years, Michael ones that might take many years to prepare. on the dt'awing hoard, most of which are
and Il'an the entire operation by ourselves too embryonic to publicize here. We may
out of my home in Santa Monica, California. New-from the original wish list. even be announcing some of them ten years
The place was quite a scene, with canons of Sometimes it actually takes ten years to get from now, in 2002! In the next year, you
inventory piled everywhel'e, truckel's and something done around hue. Both the can look forward to the Basie Rouleue stu-
lJPS men traipsing about, the phone I'ing- Cole and Blakey eolleetions, which appear dio set, a defmitive Lennie Tristano
ing off the hook, European tourists in this b.-ochm'e for the first time, wet'e on collection, and sets by Thad and Mel,
stopping by asking incredu.lously, "Is this our original wish list when we dt'eamed up Illinois Jacquet (finally!) and Louis
Mosaic Records?!" and two small children this scheme in 1982. You already know Annstrong. And, as always, we appreciate
playing fort between stacks of Monks and about the Cole set since it's been out for a and welcome YOUl' suggestions fOl' future
MuLligans. Gene Lees Wl'ote a piece about it few months now. It's wonderful to see this projects. We promise to consider them aU,
in his wonderful Jazzleuer called "Life transcendent entertainer being recognized no matter how many decades it takes.
Among the Cartons." It's a vivid po"trait of by a whole new gene.-ation of listeners as
those days which I treasu,'e, the inventive and influential keyboard Enjoy the music!
giant that he was,
Life without cartons. And we finally have a set by Art Blakey,
In 1985, we packed up and moved east to the heartbeat of Blue Note Records, our
Stamford, Connecticut where, although we spit'itua.l home. The 1960 quintet featuring
had more t"oom, we were stil.l in my home Lee Morgan, Wayne Shorter and Bobby
and Michael and I were still doing every- Charlie Lourie
Timmons was one of Blakey's greatest, and
thing ourselves, The only real diffel'ence this is pure, classic hard hop at its best.
was a very la'"ge increase in the number of Putting out the Woody Shaw set is par-
cartons, UPS men, truckers, European ticularly exciting for me, not only because •••••••••••••••••••••••••••••
tOUI;stS and phone calls. As wOl'd about us Woody was a vel"y beautiful player who "The most important
spl"ead, and business got beuer, and my
marriage got worse, we eoncluded unavoid-
deserves fal' widel' J'ecognition, but because thing you're doing is
Michael was the original pl"oduce," of this
ably that we had to move into commercial music, Woody definitely belongs in the pan-
mining the Blue Note
facilities and hire a staff. Three years ago,
theon of gr'eat tnuopetrnaster's and [ hope vaults. Never stop doing
the re-release of these marvelous sessions that." Woody Shaw to
will inc/"case Jlublic awareness of that fact.
On the Cover.
And we've got another' great blues set to Michael Cuscuna.
TIME. A drummer captures it, propels it, defines
it. And none more confidently than Art Blakey, add to our T-Bone Walket' L;oUection. Each
of the Candid sessions by Otis SIJann and

A
whose Blue Note recordings are themselves round twenty yeat'S ago I was going
little pieces of time. Blakey made bandleading Lghtnin' Hopkins is valued amongst their thl'ough the Impulse vaults fOl'
part of his artfonn, and each Incarnation of finest. That, and the inclusion of much some reseat'eh on John Coltrane,
the Jazz Messengers created history, both for unreleased matel'ial from both sessions, and J remembet' being amazed that Bob
the music and the personnel that played it,
makes this set a must for blues lovers. Thiele, Colll'ane's producer, had ahso-
The complete recordings by the band many
Fans of swing and stride solo piano will lutely no recol.lection of majOI', major
consider his finest - the 1960 version - are all
together on Mosaic's new set. August 1960
be thrilJcd with thc Master Jazz Piano sessions that had oecuned as I'ecently as
photograph at the Jazz Gallery by Francis Wolff. Series box. Bill Weilbacher, the fan who eight years before. There I was, looking for

2
new infol'mation, but instead I wOIUld up Blue Note record between 1940 and 1970, I fOI" the lil'sttime since we'd I'ecorded them
reminding Thiele about a ton of stuff that I now [md I have a hal"d time answering ques- was an amazing experience for me. Memories
had docwnented, and that he had completely tions about record dates that 1 produced! came rushing back of things we tried and
forgotten about. succeeded at ... things we had to scrap, , .
Today, I understand why, I grew up The perfect Mosaic project. players whose pl"esence at particuJal' sessions
learning about and treasuring a lot of Blue Mter aU these years, it suddenly occuned to I'd completely fOI'gotten about. For the fil"st
Note jazz and Atlantic R&B , , , and while I me that my deep involvement with Woody's time I became aware of the histol'ic value of
can still teU you who's on just about every music was what was keeping me from I"ealiz- the performances that I'd actuaUy partici-
ing the pedect Mosaic project was stal"wg pated in ... and the feeling was a bit stl"ange.
me right in the face in the fOI"m of Woody Now that the project is complete my only
Below: Shaw's substantial body of work for CBS. regret is that Woody Shaw is not here to see
flRST. Master of the soprano saxophone Sidney When you WOl"k with someone as dynamic it. And I'm particularly proud to have
Bechet ranks first in a lot of categories. He was and passionate as Woody Shaw, you get played a part in making this music avail-
the first real giant on this tricky, demanding close in unexpected ways. You share his able to the world, not once, but twice.
instrument; he was responsible for Blue Note's
personal triumphs and disastel·s. You hang
first hit, "Summertime"; and he's featured on the
around together, talking and laughing and
Port of Hartem Jazzmen LP, one of the first of
Mosaic's re-releases to sell out. If you missed arguing and working. Many ideas are
that one don't pass up Mosaic's 7he Complete explored and abandoned before you find
Slue Note Recordings of Sidney Bechet. Photo- the one you Like. It can be aU-consuming.
graph of Pops Foster, Wild Bill Davison and Going through the Sony Music (fol"merly
Sidney Bec:het from April 1950, by Francis Wolff. CBS) vaults and l'elistening to those sessions Michael Cuscuna

MOSAIC RECORDS 3
NEW R E LEA S E S

••••••••••••••••••••••••••••• •••••••••••••••••••••••••••••
At last - the rest of us Extremes of the blues-
can hear the Master Jazz Otis Spann and Lightnin'
solo piano sessions. Hopkins.

ere at Mosaic, we have a natural tis Spann and Lightnin' Hopkins

H affinity for one-of-a-kind musical


p"ojects that are born out of passion
for the music, and that tr·y to be aU-encom-
O wel"e about as fae apart as you can
get in the blues wodd. Bnt they did
have two things in common. Each was an
passing. innovative blues mast.er, and eaeh made
In the case of the Maste,' Jazz label, the one of his finest recordings for Candid, the
passion belonged to Bill Weilbacher, whose short-lived jazz label, in 1960.
hobbyist interest in mainstream jazz led
Texas folk...
him to develop during the 1960s his mllch-
The Complete Master Jazz Piano Series Lightnin' Hopkins, despite being one of the
respected mail-order-only record business
Limited to 3500 copies worldwide. most-recorded blues artists of his time,
(nice idea, huh?). The project that got our 6 LPs [MR6"140j $60
never steayed far £I'om the storytelling
interest was his obsession with solo piano. 4 CDs [MD4-140j $60
acoustic folk-blues he learned and
He gathered the giants. nuetured while working as a Texas
Weilbache,"'s idea was to give g,"eat pianists farmhand during the dep,"ession. It was a
in the swing and str'ide traditions a gl"eat featlll'es all 15 scssions and 63 Iwrformanecs form of blues not all that distant fl"Om the
piano in an unp,"essUl'ed setting, and let them recorded for Master Jazz, including 13 by origins of the music itself - and even as late
rccord whatever material they wanted. Hines (two previously unissued), eight by as 1960, not aU t.hat weB-known to whites
One by one, he 1)I'ought into the studio McShann and 13 by the gifted composer or northerners.
of "Lovc," Man," Ram Ramirez, a major
such giants as Earl Fatha Hines, Claude
contl"ibuto,' to Ike Quebec's ear"ly Blue ... Chicago electricity.
Hopkins, Cliff Jackson, Jay McShann,
Note sessions. Otis Spann was an architect of the Chieago
Tcddy Wilson, Sonny White, Cliff Smalls,
The booklet includes ,"eminisccnces by school of pohshed electric blues. The
Sir Charles Thompson, Keith Dunham,
Bill Weilbacher, notes hy Nat Pierce, and consummate session pianist for' Chess
Gloria Beam and Ham Hamirez.
eare, o"iginal session photographs. Records and the heart of the Muddy
It was the first opportunity for Jay
McShann, Claude Hopkins and Cliff
Jackson to I'econl solo piano.
"This is aU top-grade stuff, the very
Phenomenal. But forgotten.
The first album set the pattern: eaeh
best that jazz has to offer in every
release featured two selections by each of
five masters. And each received rave
reviews. Ultimately, foUl" volumes of Maste,"
way, presentedJor the maximum
Jazz piano recordings were released in the
listening (and learning) pleasure.
U.S., as well as a Ram Ramirez album
f"om the same sessions and a fifth Master
Mosaic's produd stands in sharp
Jazz piano LP that was briefly available
only in Australia.
contrast to almost everything eLse in
But due to the very hmited mstr'ibution
Maste,' Jazz ,"eceived, even the albums that
tlwfield. Here is a commitment made
wCI'e [)I'essed w,""C hea"d by p,-ecious few.

Until now. alld a commitment kept, and bodes The Complete Candid Otis Spann/
Today, The Complete Master Jazz Piano Lightnin' Hopkins Sessions
Limited to 7500 copies worldwide.
Series is a permanent testament to the infi- weUJor t/wforeseeablefiLture."
5 LPs [MR5"139j $45
nite variety and ,"iehness of the jazz piano 3 CDs [MD3-139j $45
tradition in true Mosaic fashion. Thc set F,"ank Driggs, Audio

CALL AND ORDER BY PHONE: 203/327-711110AM-5PM (EST) MONDAY-FRIDAY


OR FAX: 203/323-3526 VISA & MASTERCARD ONLY, PLEASE.
Watel's band in the 1950s and 1960s, Spann •••••••••••••••••••••••••••••
was a powerfully expressive singer' and a The one thing Art Blakey
wonderful boogie woogie pianist whose
technical prowess far exceeded that of the
played better than drums
hlues pianists of his day, was musicians. In 1960,
Now Mosaic has gathered together' theil' he played the best.
entire output on Candid into one sel.
In addition to aLI eight tracks f"om the

E
o)'iginal Lightnin' Hopkins in New York Vet'Ybod Y knew whal a hrilliant and
album, our set includes one track ("Black powerful ell'ummer Art Blakey was-
Cat") previously released only in edited his patented rising press roll; his
for'111, plus fiVf~ Hopkins tracks previously dipped, incessant hi-hat; his flutter-effect
unissued in any fOl'm, rim shots. But Art Blakey's real genius was
shaping the sound and dynamics of a jazz
g"oup as fit'mly and distinctively as
Toseanini ,haped the sound of a symphony The Complete Blue Note Recordings of
". , . Mosaic Records, in Stamford, on~hestl'a. Art Blakey's 1960 Jazz Messengers
This was Iwver more evident than in the Limited to 7500 copies worldwide.
Connecticut., has become the jazz COLl1/.- 1960 Jazz Messengers. 10 LPs [MR10-141j $90
6 CDs [MD6-141j $90
terpart (if'the Library ofAmerica. it Morgan, Shorter and Timmons.
Together.
Lee MOI-gan, on trumpet, composed and 1960 Jazz Messengel's tells thl' tale, f"olll
assembles, in handsome, thoroLlgh, uni-
pla)'l'd pure hard bop. Wayne Shot·tet·, on stal·tto finish. This 10 LP/6 CD Mosaic set
"axopholw, wa" a born futurist, constantly ineilldes all eight albums l'e!east'd lIy this
form paclwges, the best ofthe
br'imming with off'-I'f:'nttT ideas that Wl't-!' quint.,ssential gl'oup: The Big Beat, It Night
year's ahead of their time. Bobby Timmons, in Tnnisiu, Like Someolle in Love, Meet
out-oj-print, oJien forgo/.ten recordings
on piano, was a master at funky, gospd- YOIt at the Jazz Corner of the World
hasl'd composition. The pt'oJ'ulsive hass Volumes! and /1, Roots and Herbs, The
that have been made Jor small jazz
playel' .Jymir ."let·rill, an individual who Witch Doctor and The Freedom Rider-
was pat-tieulal'ly aUuncd tu Blakey's most of whidl have Iwen unavailabl(' for
labeLs during the pas t fijiy years, "
rhythms, nlllnded out the organization, ove'- a deeade, Plus, five j)erfonnall('es
The faet that Blahy had in iVloq;an, releasecl ollly 11I'idly in J aJlan and Iwo
Whitney BalliI'll, The New Yorker
Shor·ter and Timmons thn~e distinrtly unissued perf...·mances.
differpnt musical personalities who wer'e as The booklet illdud"s a complete
talentpd as l'l""po,el's as they weI'" as lliscography, biographical and lIIusi(,i11
instrumentalists gave this Land its analyses hy Bob Blumenlhal and l"iln'
The Otis Spann s(~ssi()m; featul'c Hobe/·t phologl·aphs.
extraordinary dept h and level of quality.
Lookwood Jr. (RollPJ't Johnson's stppson)
What tlll'Y wen' abll' to generatc in only
on c,'1litar' and occasional vocals, the
14 months i, ahout thc' Ill'st exampll' of
legendary SI. Louis Jimmy, and six great "ereative inspiration" you can find. And
instrumental hlues and lJOo~c piano solos, now you ean find it- all of it - on Mosair. "if quality is ·what. yOIt most wallt )'0/1.
Also included: the f'ntirr !'lassie Candid
aUlUm Otis Span1/. Is The Blnes, the A marathon of music.
can S/'art by checking onl iV!oSltic
ohscure follow-up album Walkin' The Blues TIlt> t'ceorrling mat-athon stal-led in March
(not n~leased until 10 yean; aftel' Candid lY60 and didn't stop until Timmons and
Records, (L sl1'lall,jiRrcely independent
folded., aod then, only hl'iefly), pillS 13 MIJl"gan left in May 1901. Thl'Ough seven
pJ'f~violisly um'eleased perrot·mallees. majol' studio sessions and a I,.,eonled stint
IlwiJ-order company I.hal calRI'S to juz;;
at Binlland, Art Blakey's 1960-l'lIi,ion Jazz
Rare then. Limited now.
MesSl'ngers W('IT Iwpl busy donullenting
These "xtl'em.,ly I'an'. ,'el'onlings by cOlllloissenrs orOluult./1R lVorld,"
one of the most impa,·tful small jazz groups
Lightnin' Hopkins <lnd Otis Sp<lnn have that Blul' NOll"'s Alfl'Nt Lion - or the wo,.[f!
been meticulously tl'ansfern~d fl'Om the OWl'll McNally, Hartford Courallt
- had ..,v..,r Iward.
OJ'iginal ste/'eo mastel'S, The booklt,t
To hear OIW of the real signature sounds
includes an informative essay, biogt-aphies in musi(" and thl' OIl(' hand that mayhe !Jl'st
and session notes by Mark Humphl'l~y, defi/wd it, thi, ('olllplpt(~ s..,1 of AI,t Blakey's

MOSAIC RECORDS S
NEW R E LEA S E S

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Was there one Woody "You've got an awkward
Shaw? Or three? combination there. "
The man tradition Wkwal'd, indeed. Few, at the time,
couldn't contain.

hen~ al'e two ways to deal with your


A had ever heal'd a piano-guital'-bass
combo. The common perception
was that a small group should sound Lke a

T cultural roots. GI'OW up attached to


them, straight and true. 01" rest on
them gently before you take off and fly.
scaled-down big band. And any gl"OUp
highlighting two chordal instruments, such
as piano and {,'Uitar, with a bass to drive it,
was eourting disaster' , , , a musical tr'ai n
Woody Shaw was the person who'd
wreck in the making.
extend the line of great trumpet players
But Cole felt he was onto something.
that indunes Clifford Brown, Lee Morgan
The King Cole T"io had a uniquely light
a [1(1 Frcdnic HubLunt. He did it as an The Complete CBS Studio Recordings of
and delicate sound that club audiences
individual who drew ft'om the whole tradi- Woody Shaw
Limited to 5000 copies worldwide, loved ... especially when Cole added an
tion. His unique style was influenced as
4 LPs [MR4-142] $40 occasional vocal to the set, with a voice that
much by saxophones as by trumpets.
3 CDs [MD3-142] $45 perfectly matched his breezy piano style.
The Complete CBS SttLdio Recordings
But, light as it appeared on the surface, the
of Woody Shaw, available now fwm
music that the trio was playing was power-
Mosaic, shows that what spl'ang from the George Cables, Steve TUITe and James ful. , , I"hythmically and hannonicaUy
tr'adition was rich; fuU of art as well as Spaulding, among others. challenging in a way that presaged bebop.
entertainment. MOI'e than something to lis-
ten to, Woody Shaw's music demanded you Overlooked. But remembered. Poll winners.
listen, The recm'ded legacy of Woody Shaw - one The King Cole Trio won the Down Beat
of the most important tl"Umpet players of poll fl'om 1944 thl'ough 1947, They won the
A prodigy at 18. the past 20 yeal"s - has been vastly ovel'- Metr'onome poU from 1945 through 1948.
Woody's fil"st sideman stint came eady- looked. We are especially proud to restore Cole was considel'ed by many to be the best
as an 18-year-old trumpet p"orligy on Eril: to circulation all of the Columbia studio jazz pianist of his day, winning the top
Dolphy's maste"piece, Conversations. He recordings hy Woody Shaw (Ol"iginally PI'O- piano honor's in the 1947 through 1949
latel' played with HOI"ace SiJver, Lany duced by Mosaic's own Michael Cuscuna!) Metronome polls, and receiving Esquire
Young, Chick Corea, Andl'cw Hill, Jackie and make them availahle on CD fOI" the first Awards in 1946 and 1947.
McLean, Joc Henderson, McCoy Tyner time. The Complete CBS Studio Recordings Cole's unique keyboard style, and the
and Dexter Cordon. of Woody Shaw also includes one unissued
fresh configul'ation in the drummerless
A fascinating component of his sound tune, a booklet including biographical trio, began to make its mark on eve"yone,
stems from his love for classical music. notes by Michael Cuscuna and session from future behoppers like Bud Powell and
Then~'s a technical virtuosity, a lightness, notes by Cad Woideck. blues greats like Charles Brown, and even
an almost pretty roundness to the tone,
future R&B giants like Ray Charles.
and a feel for composition. The long Lst of
But it wasn't just musicians appreciat-
hard hoppers he played with never found
ing the trio, 01' jazz fans. Their records
another trumpeter to contl"ibute that. "RECORD COMPANY OF THE YEAR: were I'outinely landing on the nation's pop
The leader emerges. and R&B charts.
By 1977, Woody was ready to claim his Mosaic. Devoted to painstaking As Cole's popularity began to grow to
o\....n place. He put together his first per- almost staggering proportions, he began
manent working band and signed his first reissu-es in high-class, boxed sets, this introducing new elements inlo his record-
major'label deal with CBS Records. ings. In 1946 he and lhe tl'io wOI'ked with
From the first, he was confident, dal'ing mad-order outfit has earned a unique strings for the first time, By 1950 Cole was
and acclaimed - Rosewood, featUl'ing an making reeol·ds that were more pop than
electl'ifying 12-piece ensemble, was voted reputation. jazz. Often, he wouldn't even play piano.
Album of the Yeal' in the Down Beat At times, no other member of the trio was
Reader's Poll, and nominated for a Leonard Feather, fA Times present. Thus ended an el'a, and began
GI"anuny. Three more consistently ehal- another, that millions of people around the
lenuin b b
u and val'ied albums followed, with world associate with Nat King Cole.
sidemen Joe Hendel'son, Gal'y Bartz,

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6 OR FAX: 203/323-3526 VISA & MASTERCARD ONLY, PLEASE.
ThEl end of an era. fir'st seven years at Capitol (1943-1949), "Great American music comes i.n lots of
ADd with a few exceptions, that era of plus everything released afterward that can styles, but whatever the sound, it doesn't
Cole's worldwide, mainstream popularity is reasonably be considered a jazz-based get much greater than this. Anyone of the
where Mosaic's 27-LP/18-CD compilation recording (including the ol"iginal "Penthouse tunes in this coUection can swing you off on
of The Complete Capitol Recordings of The Serenade" sessions from 1952 and 1955 and a cashmere cloud."
Nat King Cole Trio ends! "After' Midnight" sessions of 1956). Jay Cocks, Time
As Mosaic's set demonstrates, Nat Cole's Most of this set consists of I'are material
recorded output of brilliant jazz is stagger- ... with fuUy two-thirds of these recordings "This set unveils the other Cole - the one
ing. The availability of these recordings- unavailable on LP or CD until now, and who is revered by jazz scholars and musi-
some foe the fit'st time in forty yem's, othel's many of thf~ rest long out of pl'int. cians as one of the great pianists and
for tbe fil'st time evee - may well permanently In order to make this set truly complete innovators in jazz's history."
innuenee the way we view the evolution of from 1942 on, we've included aU six Wayne Thompson, The Oregonian
early bebop. Most certainly, they will Excelsior recordings, four of which Capitol
shaepen our awareness of Nat IGng Cole's chose not to purchase, and the four sides
enormously important contt'ibution to jazz. I'ecorrled for Atlas-Premier just pr'ior to the
Best of all, this is one of the most plea- trio's first Capitol session. "This most monumental of Mosaic's
surable, important discoveries of the past
several decades. And now, it can be all yours. Contains:
antlwlogies leaves no doubt that Cole's
• A lavish 64-page booklet with session-by-
Hear for the first time ...
session notes and commentary by WilJ artistry and influence were as substan-
The Complece CapiLOl Recordings of The
Friedwald (author of Jazz Singer), and
Nat King Cole Trio contains every Nat IGng
an essay on Cole's keyboard artistry by tial as his commercial success."
Cole Capitol commercial and transfTiption
pianist Dick Katz.
recoeding that features Cole on piano, with
• A complete session-by-session discogra- Bob Blumenthal, The Boston Gld>e
both trio participation and/or a jazz feel.
phy and cross-indexed tune list.
This ineludes every recording from Cole's
• Rare photographs.

The Complete Capitol Recordings of the


Nat King Cole Trio
Limited to 10,000 copies worldwide.
27 LPs (MR27-138] $270
18 CDs [M018-138] $270
Please note speCial shipping charges
on order form.

MOSAIC RECORDS 7
Mas A I CPR a MIS E S

••••••••••••••••••••••••••••• best in the countl'y,

W
e stal'ted Mosaic with an am. bi-
tious agenda of standards and
Limited Editions make important
Mosaic stands goals that, to this day, is stilJ thp
guiding force behind pvprything we do,
music into important recordings.
Mosaic sets al'e limited to no more than
by its plan. Important artists. Not just the 10,000 worldwide (usually even less). Once
biggest. they al'e aU wId we wiU never' make them
Thp aJ·tists we choose al'e selected for their available again, adding il1lllleaslll"ably to
place in the histol'Y of American musie. the future value and historical significance
Music, above all, is what determines if an of the Mosaic sets you buy.
artist bdongs on Mosaic.
And speaking of value, that's a basic
You won't necessal·i1y find us going fOl'
tenet of ours.
the big commereial names. But, neithel'
Mosaic pl'ices arc competitvc with common
will you find us diseriminating against
records and CDs. Record sets al'e priced
them. Hel'e, 1'01' the first time anywhere,
at $10 per LP. CD sets aI'e priced at $15
Brooks and Nichols are J"f'ganled on e<[ual
per CD. Thc booklet, the box and the sel'-
tenns with Monk, Mingus and Getz.
vice come to you at no additional ehat"ge.
Everything you expect. And more. Mosaie CD huyers get pxaetly the same
Choosing the al,tist is only half the hattie. l1lusie as in our (TitieaUy acclaimcd, deluxe
The oth,'I' half is deciding upon a histori- LP sets. With the exaet same informative
cally viable coneept. We want Mosaic sets LlOoklet (not a scaled-down CD pamphlet).
to be as important, and as complete as we In the same sturdy 12" x 12" libl'al'y box,
can make Ihem. OUI' sels indude every sig- With the same ]jmited-edition colleetibilily.
nificant track that falls within the scopc of And, sincc there are fewer CDs than LPs in
a given project, presented in an organized, a given set, OUl' CD sets come at a pl"ice
chronologieal manner usually for the fil'st that's very close to or, in some cases,
time ever, \Ve go into Ihe vaults of as many exactly the same as the LP equivalents.
re(,ord labels as neccssaq' 10 examine all
We make ordering easy.
their original session tapes. In addition to
And we guarantee satisfaction.
pl'eviously issued material, Mosaic sets are
You ean use the order form in this
usually rich with unreleased tl'acks and
brochure to onlet· Mosaic sets. 0." simply
valid alternate takes. It's no accident
('all during working hours and tell us what
we're considered the label for failS and col-
you want. You'll be speaking to a mcmber
lectors "who want it all."
of the Mosaic family, not a switchboard
Information, photos and more onlel' takcr. You may pay with VISA or
information. MasterCard, a check drawn on aU,S,
To put everything into its proper and bank or money onler in U.S, currency,
fascinating perspective, Mosaic commis- Furthel'mol"e, everything we sell is fully
sions leading authorities to write OUI' guaranteed. Just say the word and we'll
hook lets and supply collectors with all "eplaee a defeetive I'eeord a maned
pertincnt dates, personncllistings, and booklet ... a worn box even a postal-
discographical information. Our booklets damaged entil'e set.
range in size from eight pages to 64 pages. That's the way we first set oul doing
Inteniews and photogl"aphs from the business. And by sticking to the plan, we're
actual sessions are included whenevel" stilJ in business almost ten years late.',
possible. Enlightening musical ovcnicws
are a matter of course.

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,
OUl" pl"intel' and our box fabricator are the

8 CALL AND ORDER BY PHONE: 203/327-711110AM-SPM (EST) MONDAY-FRIDAY


OR FAX: 203/323-3526 VISA Be MASTERCARD ONLY, PLEASE.
COMMODORE VOLUMES I AND II

~~~~~~~~~~~~~~~~~~~~~~~~~ The Complete Commodore Jazz Recordings, Volume I.


Limited to 2500 copies worldwide.
Almost Sold Out. 23 LPs [MR23-123] $230
The Complete Less than 50 remaining as of June 1992.
Please note special shipping charges on order form.
Commodore Jazz Not available on CD.
Recordings, Volunle I.

M
osaie's first volume of The Complete BeITY, Jelly Roll jVlorton, Willi" The Lion
Commodore Juzz ReCfJnlings Smith, ColemanlIawkin,,;, Md Powell, ami
n~t.:t'ivpd five stars in Duttilt BeuL., two a host of olhers.
Grannll) Ilo'ninations, and f':xlravagant praise-
in ~v~rylhin~ fnlln JozzTimes to Notio/wl "Can the Mosaie folks top this al't! Yes.
Review. but only with Volume II and III. They'n' doing
Spanninf'; [9:18-[94:3, Volltme I features Ihl' job none of the conglomerales eould or
,,;ome of the most valued r~eordings by ,,;uch would touch."
artisb as: L,>ster Young, Billie Holiday, Chu Alan Bargebuhr, Cadellce

~~~~~~~~~~~~~~~~~~~~~~~~~ eould get fO!' hi,,; Commodore lahp!. Commodore Story" hy Milt Gahler. session-by-
During the next 14 month,,; Commodore session notps hy Dan MorgenstPI'n, rm'p
The Complete Records would record ami rplease as much photographs, and a thol'oughJy ,'esearchpd
Commodore Jazz great music as it had in its first five yeat'S, diseography.
combin.·,I! • Edition limited to 2500 copips worldwide.
Recordings, Volume II.
• In lIofrulIP 11 you'll get :~40 "ecordings made
"*****"
The Complete Comllwdore Jozz during that historic timp on 2::J LPs. Included Down Beat

I
n
Recordings, Volume ll, Mosaic Records al'e dozens of "Commodore landmal'ks"
takes you back to an cra when a record slol'e featuring Billie Holiday" L.'stn Young, Bpn
"Mosaic has once again eompiled an historic
eould thrive sdling jazz. Webster, Zoot Sims. Red MeKpnzie, Hot Lips
and eultul'al document of monumental
It was 1944 through parly [945, and the Page. Bobby Hackett and Ed Hall with Teddy
significanceo ,~
Commodore Record Shop, together with the Wilson, all sounding better than you've "'ver
W. Royal Stokes, JazzTimes
record label that it spawner!., was smoking! The heH"d them. Plus., then' are surprisps around
war ""US winding down, ano ~h('Uae was evel'y turn, with llevt·,'-bcfore-released
altentate taktcs and newly discovered tracks by "One wOld,1 havp to thumb thnHlgh tlw
becoming more r~adily availablp. A reeording
AlIH'rt Ammons, the DeParis Brothers, Jess dictionary of circus hype for words like
han imposed on thp industl'y hy the Amel·ican
Stacy, Sid Catktt., Jack Teagarden, JoP 'stupendous' and 'colossal' to find adjcl'li\'es
Fpderation of Musicians was lifted, and
Bushkin, P,'e Wee Russell, Eddic Haywood, ad"''1uate to descrilw tIll" spcond volume of thc
suddenly year, of pent-up crpativity found
George Zack .. and many others. cOlnplete Conunodon-' re("ordin~~ ... To say
pXfJr,-ssion on disc. In New York, Milt Gabler
• 48-page booklet contains Part II of "The volunw two is the P'Iual of volume OllP is v,.,.y
was thpI'p to I'aptlll'f' as mUl'h of it as he
high pl'aise indeed, and so it is." .
Bob HiLbprt, Joslill's Jazz JOllrtlal

The Complete Commodore "Volume II ... testifies to th" invelltiverless of


Jazz Recordings, Volume II Ru,,;sell, Spaniel', f)avison and tile otl"'r
Limited to 2500 copies C()ndolljtps~ and also contains hl"illi<:.lllt wOl'k
worldwide. fnllll Holiday. Paw,', Sid Catl,,1t (with Hell
23 LPs [MR23-128] $230 Wpbskl')" Edmond Hall and Tl'ddy Wil,,," .
Less than 800 remaining as new ideas can llP hp31 0
d 011 tHloHdy P\,(-'I"Y
of June 1992. altl'l'natp takp.'·' ..
Please note special shipping
charges on order form. Bob Blumenthal, Bostoll Globe
Not available on CD.
·'Thp COllllnodon's al'e wO'lller'ful 1 B"th, bllt
pspeeially number two is a kind of mOUUllwllt to
the nIPmory of Pep WeI" Bussell. How that man
could play. But it iSIl't too had either to gct Ilew
takes with James P., .Jaek Teaganlen and Hot
Lips Pagp!! I call hardly wait fot· number
thITe."
Nils-Cunnm' Ande,·hy. Stockholm, Swedell

MOSAIC RECORDS 9
COMMODORE VOLUME III

••••••••••••••••••••••••• Highlights of Volume III Include:


• Newly discovered alternate takes by Bud
• Commodore mainstay Wild Bill Davison in
session with his Commodores; George Brunies;
The Complete Freeman and his Gang in 1938, and hy Billie Eddie Edwards and his Ol"iginal Dixieland Jazz
Commodore Jazz Holiday in 1944. Band; Sidney Bechet.
• The real master takes on Chu Berry's "Blowin' • Mel Powell's only big-band n,eordings.
Recordings, Volume III. Up a Breeze" and "Monday at Minton's." • EncOl"es and more by Willie The Lion Smith.
• Conunodore's 1945 Town Hall all-star • Ralph Sutton interprets Bix.
extravaganza in the best sound ever, featul'ing • The authentic New Orleans sound of Johnny

V
olume III in Mosaic Ref,ords'
wlprecedentl'd Limited Edition release Red Norvo and His Orchestra with Shorty ~liggs.

of The Complete Commodore Jazz Rogers, Flip Phi]lips, Eddie Bert, Teddy • Commodore's excursion into modern jazz
Recordings includ..,s aLI the last 78s, aLI the w- Wilson, Remo Palmiel"i, Slam Stewart and with Frank Wess.
inch and 12-inch LPs, important addenda to Specs Powell; Bili Coleman, featuring Billy • Peek Kelley recorded at last.
hoth [wevious volumes, plus a wealth of Taylor on piano; Gene Krupa with Charlie • 246 recOl'dings on 20 LPs.
previously unissued material hy Billie Holiday , Ventura; the Stuff Smith Trio, with Billy • 4-8-page hooklet contains Pal"t III of "The
Bud Freeman, Jonah Jones, Ralph SUlton, Taylor and Ted Sturgis; TNldy Wilson fronting COllllllodore Story" hy Milt Gahler, session-hy-
Frank Wess, Mel Powell, Wild Bill Davison, membel"S of the Red Norvo ensemble; Don Byas session notes by Dan Morgenstern, and rare
Peck Kelley, Eddie Edwards' Original and Slam Stewart. photographs.
DLxieiand Jazz Band, and others. • Serious jazz hy Jouah Jones, with Ike • Special 6S-page beginning-to-end disc-
Quebec, Tyt·..,e Glenn, Hilton Jefferson, Milt ogrnphy of Commodore jazz. Pubhshed for the
You were there . .. Hinton, and .I .C. Heard. first time ... a $25 value.
The years were 1945 through 1957 and • Edition limited to 2500 copies worldwide.
technology was on a rampage. America WaS
going through postwar changes that would set
the tone 1'01' the rest of the century.
The advent of the tape recorder in the late
'40s opened up a Pandor"a's box ruled with The Complete Commodore Jazz Recordings, Volume III
gimmicks, special effects, and easily attainable Limited to 2500 copies worldwide.
perfection. Recorded music had lost its 20 LPs [MR20-134] $200
innocence and it would never be the same again. Please note special shipping charges on order form.
Still, the Commodore label remained Not available on CD.
steadfast in its dedication to the musie, and to
the musicians, that typiJied the era it had helped
to define. From the all-star Town Hall concert
of June 9, 1945 through the legendary Peck
Kelley private recordings of June 9 and 16,1957,
Commodore was making history to the end.
Special Offer:
If you purchased
"I've had offers to produce. And I said, I've Commodore I and "
got to get my stuff out again. Then maybe I'U send in your coupons
produce. But at my age, where am I going to and take 20% off on
find a Billie Holiday or a Pee Wee Russell? I Commodor'e III.
enjoy going to concerts ... I hear the new guys
... blowing their brains out and playing their
hearts out. Occasionally you hear something
fabulous, but it doesn't top what we had.
it was a time that may neVer come back."
Milt Gabler

10 CALL AND ORDER BY PHONE: 203/327-711110AM-SPM (EST) MONDAY-FRIDAY


OR FAX: 203/323-3526 VISA & MASTERCARD ONLY, PLEASE.
S TIL L A v A I LAB L E

••••••••••••••••••••••••••••• Many unissued or rare sides.


His tone could fill the Here is Art rolling along with Sidney Bechet,
Wild Bill Davison, Vic Dickenson, Baby
Polo Grounds - one of Dodds, Edmond Hall, Max Kanunsky, and
the giants of jazz, Mczz Mezzrow. The set includes many per-
Sidney Hechet. fonnanl,es pl'eviously unissued or released
only on 78s and lO-inch LPs. Five LPs (01'
foUl' CDs) plus a hooklet wilh original liner
ew Orleans, teeming with culture

N
notes, a thorough discography, Art Hodes'
from many nations, gave birth to own writings, and many rare Fnrncis Wolff
Bechet and his sound. It also filled photographs, plus a new appl'eeiation by
him with the ur'ge to travel. He stomped Dan MOI'genslern.
'round the world while still in his twenties. (In order to be complele in each ease,
Russia. Egypt. He played for the king of this collcction includes scven selectiuns >llso
England, bangcd around in bistros, ran a in our Sidney Beehet set.)
Harlem speakeasy, did timc in Paris ... The Complete Blue Note Recordings of
HI" was all over the globe, making every Sidney Bechet "This delightful five-n'cord set collects all
musical note count. Limited to 7500 copies worldwide. of Hodes' infol'mal Blue Note dates, wilh
6 LPs [MR6-110] $60
An astonishing improviser. wondel'fut contribulions f.-om Sidney
4 CDs [MD4-110] $60
Bechet had an astonishing ability to improvise. Bechet, Max Kaminsky, Vie Dickenson,
The Complete Blue Note Recordings ofSidney and Baby Dodds among olhel·s."
Bechet is a reminder of his substantial gift. Fl'aneis Davis, Philadelphia Inquirer
He h>ld a powerful tone, thick vibmto,
and unflagging energy. He was the first true •••••••••••••••••••••••••••••
master of the soprano saxophone. First we'll tell you
New transfers add clarity.
what we went through
Bechet appeared from 1939 to 1953 on 13 with Art Hodes, then
sessions 1'01' Bluc Note, 10 as Ieadel', yielding we'll tell you why.
these 74 selections. Mosaic pl'Csents them on
six LPs/four CDs, with many tracks taken
from IWW disc transfers to give added f you think reissuing e1assic jazz is as easy
clarity. Including 1:3 unissued tracks and as pulling a box off a shelf and pressing
four titles pl'eviously available only on 10- up some records, get a load of what we
inch LPs or 78s. went through wilh tlH~ Art Hodes recordings.
The booklet includes a bio by John First we had to transfel' the original 16-
Chilton, musical analysis by Max Harrison, inch wartime acetates to audiotape.
a full discography, rare photogl'aphs, and Those wel'e compal'ed to transfel's made
Blue NOll" cover >lI't from the '40s. for reissues in 1951, in 1969, and a third set The Complete Art Hodes Blue Note
(In order to be complete in each case, in the '70s. We even transferred 78s we Sessions
could acquire fOl' fUI,thel' study. Limited to 7500 copies worldwide.
Ihis collection includes three selections from
5 LPs [MR5-114] $50
the Port of Harlem LP and seven selections
Painstaking comparisons. 4 CDs [MD4-114] $60
from the Art Hodes set.)
We made painstaking iVB comparisons of
all exisling tapes for every cut, justlo see if
"One of the invaluable series of collections
transfers made 35 years ago wel'e better than
on Mosaic Records."
ours. We'I'e committcd 10 the best even if it
John S. Wilson, The New Yo/,k Times
means throwing out our own wOl·k.
As fOl' the documentation, let's just say "Now [Hosaic restores order with
" ... 1'1 monument, demonstrating that experience has taught us not to believe
every printed word. meticulous completeness and honest
Bechet's consistency and drive in any So how come all the interest in a pianist
sound. "
who I'ecorded before World Wal' Two?
selling" Because Hodes is steeped in three impOl'tant - Alan Bm'gehuhr, Cadence
- Eric Levin, People strains - he's /'r'om Chicago, he plays New
Orleans, and he plays it blues.

MOSAIC RECORDS 11
S TIL L A v A I LAB L E

••••••••••••••••••••••••••••• •••••••••••••••••••••••••••••
"I believe it all comes What drove Alfred Lion?
originally from I-Bone
Walker. And B.B. King
A
n immigrant from Berlin, AUI'ed
Lion was a jazz fan the night he
thinks so too." - Freddie went to John Hammond's
King "Spirituals to Swing" concert in 19:38. Six
days later he was a jazz producer with his
-none \VaJker mayor may not have fil'st record - and he never looked back.

Y been the first hluesman evel' to rig lip


an electl'ic guitar in the '30s. But
theee's liule rlollbtthat he was the fint to
Lion had a passion for the music and he
I'eeol'ded the music he liked. Three very
early sessions demonstl'ate how Lion
figm'e out what to do with it. elicited great perfonnances by placing
supel'b players in compelling new envit'on-
Electrifying the blues. The Complete Recordings of T-Bone ments. We've eompiled those three sessions
It was vil,tuaUy impossible for an acoustic Walker 1940-1954 on one Mosaic LP, The Pete Johnson/Earl
guitar to be heard above the early big Limited to 7500 copies worldwide. Hines/Teddy Bunn Bllw Note Sessions.
bands. T-Bone Walker solverlthe peoblem 9 LPs [MR9-130] $90 Lion got Ead Hines to cut two 12"
6 CDs [MD6-130] $90
by pe..fecting an electrifIed guitae, as well as 78t'pm sides of intimate piano, quite unl.ike
a sound and a playing style to go with it. most of Hines' diseogl·aphy. Then Lion got
In 1942, with the FI'eddie Slack Band, Pete Johnson into his studio for two piano
T-Bone Walker' r'ceorded the seminal "Mean "There's simply no way to JuUy solos and fOUl' stomping trio sides. A few
Old World" b/w "I Got A Break Baby" fOl' months latel' he l'ecol'ded Teddy Bunn
Capitol. By 1946, T-Bone was in his prime, express just how exciting and educa- playing unaccompanied jazz guitar. And
recor'ding 48 jazz-tinged electric blues classies the I'esults wel'e exceptional.
for the TAls Angeles-based Black & White tional the T-Bone set is, It goes of/the
lahel. These sides gained T -Bone national top of the scale in record review terms "A valuable disc for the historic:al docu-
exposure, and taught a whole generation of mentation of the solo Johnson and the oft
blues guitarists how it should be done. and ups the ante beyond the reach oj overlooked Bunn."
By the mid- '50s, aftel' years of success on AJan Bargebuhr, Cadence
Imperial Records, T -Bone was heal'ing his style
aU record companies currently raiding
imitated by bluesmen, R&B musicians, and their vaultsfor blues reissue product. "
eventually rock & rollers from coast to coast.
- Michael Point,
All the recordings that started it all
Today, T-Bone Walker is acknowledged Austin American-Statesman
by all to be the true father of the electric
blues. But while some of the songs he weote
Jive on in the repel'loir'es of thousands of
al,tists ("Stormy Monday," ''I'm Still In
Love \Vith You"), the vast majority of
"It's truly (t plettSltre to be able to com-
1'-Bone's originall'ecol"liings have, until
now, been incl'edibly difficult to come by. pletel)' trust a company that does
The Mosaic set includes all 144 tracks
reeonled hy T-Bone \Valker as a leader dUI'- things up right. The attention to disco-
jng his most influential years.
graphical detail in the T-Bone set sets
The booklet includes an essay by tbe
noted T-Bone biographer, Helen Oakley new statulardsJor blues/R&B reissues
Dance, a complete discography of every-
thing in this set, and l'aI'e photographs.
in this country," The Pete Johnson/Earl HinesjTeddy
Bunn Blue Note Sessions
-Jack Woker, Limited to 5000 copies worldwide.
"Among the very best box sets released in 1 LP [MRl-119] $10
the past decade ... extraordinary ... "
Cambridge, Mass. Not available on CD.
Mike Joyce, The Washington Post

12 CALL AND ORDER BY PHONE: 203/327-711110AM-5PM (EST) MONDAy-FRIDAY


OR FAX: 203/323-3526 VISA & MASTERCARD ONLY, PLEASE.
S TIL L A v A I LAB L E

••••••••••••••••••••••••••••• A time warp, pure and simple.


They were called the When "Climax Rag" hit the Commodore
Musie Shop on Octobel' 11, 1943, it helped
"Blue Note Jazzmen"- usher in a full-fledged revival of puee New
anyone of them was Odeans jazz. Francis Wolff callcd it "the
capable of calling the very incarnation of the spit'it of New
Orleans jazz." The fact that this was a
shots. current, working band made the event all
the more uplifting. George Lewis became
ne day the session would be the standar'd bearet· for the tme diseiples.

O Edmond Hall's All Star Quintet.


Another day would feature James
P. Johnson's Blue Note Jazzmen. On a
Live for real.
By 1954, the George Lewis Band was still
going strong. A radio concert and a live con-
third date, Vic Dickenson would be in
eert, reconled in Bakersfield, California
charge. A fOUl·th, and Sidney De Paris'
thaI year, were also purehased by Blue Note.
Blue Note Stompers had hooked the l"Oom. The Complete Edmond Hall/James P.
Johnson/Sidney De Paris/Vic Then, in 1955, the band made its most pro-
Fl"Om J941 to 1952, they were the
Dickenson Blue Note Sessions fessionally produced recordings yet, at Rudy
nucleus of an early Blue Note t'epertory
Limited to 7500 copies worldwide. Van Gelder's studio undet· Alfred Lion's
eompany, and all they played can be found 6 LPs [MR6-109] $60
on The Complete Edmond HallJ./ames P. supervision.
4 CDs [MD4-109] $60
./ohnson/Sidney De Paris/ViA; Dickenson \Ven, George Lewis was a man after OUI'
Blue Note Sessions. own heart. At Mosaic, we too believe in
" ... a t'are Oppol'tunity to heal' [Charlie
Hall vil'tually talked on his clarinet. keeping original music alive. So, our George
CheistianJ on acoustic guitar instead of the
De Pat'is' tmmpet was l'epot·tedly one of Lewis sel includes all 25 Climax tl'acks, 13
clef'tric. "
the toughest tl'umpets to cut in Harlem jam ofwhieh have never appeaeed in the U.S.,
John S. Wilson, The New York Times
st'ssions. Dickenson didn't just pal·ticipatt' plus both 1954 concerts, with one unissued
in tradition, he nearly was one all by him- tune, as well as the Van Gelder tracks from
st'lf, staying active on tl'Ombone more than
60 years.
•••••••••••••••••••••••••••••
"The greatest pianist." New Orleans jazz wasn't
And who was the greatest pianist in jazz? dead. And these records
Acconling to Duke, Basie, Hines, Tatum,
Fats, and Willie The Lion, it was Johnson, proved it.
the great stride pianist who was such an
important tl'ansitional figut'e between rag-

I
n the late ';.30S' die-h.arcl enthusiasts. of
time and jazz. Sidemen include Chadie authenllc New Orleans jazz, like Bill
Chl'istian, Red Nol'vo, Teddy Wilson, Russell and Fl'ederick Ramsey, wel'e
Hal'ry Carney, and Ben WebsteL detemuned to keep the sound alive. When
A festival of styles. they leal'ned that many of the music's eady
Get ready for a festival of New Orleans, authentics were still actively playing in
stt'ide, swing, third stl'eam, and every com- New Odeans, and in vel'y much the same
bination imaginable. Six LPs, 01' fom CDs style as ever, their mission was dear.
include 13 unissued tl'acks, six: available In May 1943, Bill RusselJ supel'Vised the
The Complete Blue Note Recordings of
only on 78s, and most of the l'est scattel'ed George Lewis /'ecol'ding session which, like George Lewis.
across little-known anthologies. Where the ground-breaking 1940 l'ecordings of Bunk Limited to 7500 copies worldwide.
possil)le, the Ol'iginal discs were newly Johnson by Heywood Hale Beoun and the 5 LPs [MR5-132] $45
1942 Jazzmen sides by Bunk with GeOl'ge 3 CDs [MD3-132] $45
transferred for added claeity and pUl'ity.
The booklet includes biographies, musi- Lewis, proved to the world that all the pas-
cal analysis, a detailed discography, l'al'e sion of the New Orleans style had survived 195.5, with four unissued performances and
photographs, and mOl·e. intact. \Vhen Alfred Lion heard some of one issued previously onJy on a lO-inch LP.
the discs, he immediately bought up the The booklet contains a biography of Geol'ge
"Mere words cannot l'cally convey the eights to the entire session, and created a Lewis hy Page Van Vorst, along with a
ovel'all excellence of the jazz music con- new subsidial'y, Climax, to l'e1ease them. complete discography of this set and l'are
tained in this Mosaic set." photographs by Francis Wolff and others.
John Nelson, Mississippi Rag

14 CALL AND ORDER BY PHONE: 203/327-711110AM-5PM (EST) MONDAY-FRIDAY


OR FAX: 203/323-3526 VISA &I MASTERCARD ONLY, PLEASE.
'This 3-CO (or 5-LP) Fetconlains some ofLewis's their saddle uxfords," said one n~viewer).
gr'P~te;,t nxonled WOl-k, much ofit pr"eviously mus- Many of these vocal tracks, recorded between
sUefl, in a digital rema~ring that beautifully 1953 and 1957, wel'e ol'iginaLly released
capture;; the n~lentless drive and haunting tone that dl'enched in ccho and foggy hom 11I"a vy
weI,," his trademark.,." equalization. We seat'ched every tape vcr'sion
Tom Sandon, Time of each cut and wl'ung 'em out, back to the
basic "as-recorded" sound Mosaic collectors
expect. Overdubs added latcr' al'e gone.

••••••••••••••••••••••••••••• Untrained hipness, lyrical simplicity.


Bird told Miles and Dizzy, The coLledion confirms what a lot of fans
have been saying all along- Chet Baker
"You better watch out. plays and sings jazz with unlI'ained hipness
There's a little white cat and Iy rical simplicity.
on the West Coast who's "Chet slI'uc:k me as a giant then," said
Freeman years latel·. And he strikes us as
gonna eat you up." The Complete Pacific Jazz Live
one now - coming through loud and clear in
Recordings of the Chet Baker Quartet
with Russ Freeman the sessions that made the difference. The
het Baker I'eports the quote himself, Limited to 7500 copies worldwide. booklet contains a perceptive essay by Will

C out of awe, not pride. He met Parker


when th(·~ altoist was putting together a
band in L.A. Every trumpeter in L.A. came
4 LPs [MR4-113] $40
3 CDs [MD3,113] $45
ThOl'nbury, musical analysis by Doug
Ramsey, and many unpublished photographs
by William Claxton f("om the actual sessions.
down, and aftel' Chet played two tunes,
Parker canceled the audition and hired him-
self a horn player. •••••••••••••••••••••••••••••
What Parker recognized, what this The seminal Chet Baker
release revcals, is that Chet Baker may have
been 0111' of the most intuitive and improvisa-
sessions - cleaned up
tional player's ever. and sounding incredible.
H,e <:ouldn't ,'ead a note. Didn't have a
due about chonl stnll'Wre and progr'essions.
But what a fahulous ear for melody and
eOlllplernlental'y playing!
"He doesn't have any idea what key
he's playing in 01' what the
chonls al'e," explained quat'tet
Night after night, Ba ker's only safety net
was Russ Freeman's great compositions and member and composer, Russ Freeman.
firm suppon. The Complete Pacifu: Jazz "It's aLi just by ear". He has not bing to fall
Live Recording$ of the Chet Raker Quartet back on. But t/wre would be certain flights,
with Russ Freeman is the evidence. maybe once a week, when he would be abso-
lutely stagger·ing."
Newly discovered sides. Weare proud to l'e1ease The Complete
This set - recorded in 1954 - gives you every The Complete Pacific Jazz Studio
Pacifu; Jazz Studio Recordings a/the Chet
note reeonled Jive for Pac,ifie Jazz, four LPs Recordings of the Chet Baker Quartet
Baker Quartet with Russ Freeman. Here with Russ Freeman
(01' three CDs) induding two and a half LPs'
are the sessions where Gerr'y Mulligan's Limited to 7500 copies worldwide.
worth unavailable until now, The booklet 4 LPs {MR4-122} $40
alter ego stepped out front. He was destined
offers an in-depth essay hy Joe Goldhel'g, a 3 CDs [MD3,122] $45
to be a legend before he turned 30.
1954 article by Pacific Jazz owner Dick
The FI'eeman-Baker counterpoint is
Bo<:k, and William Claxton's photogr'aphs of
uncanny, peppered with harmonic twists
the a<:tual events,
and taut musical thinking. Bakel' knows
how to play the "spaces." And between "Chet Baker fans ean't be without this one,
"Anyone who doubts that Chet Baker is a
major instrumental talent-and anyone who them, hc knows where to put the absolute and it's historieally significant-the guy is
is unaware that Russ Fl'eeman was an excep- rightest notes. even better than you originally bebeved him
tional pianist-should bear The Complete to be."
Back to basics.
Pacific Jazz Recording$ o/the Chet Baker Bob Claypool, The Hou$ton Post
The set includes two and a half sides of
Quartet with RLLS8 Freeman. "
instrumentals and one and a hali' featuring "His playing touches emotional nel"Ve centers."
R. C. Smith, Durham Morning Herald
Baker's vocals (he sang "with an innocent George Kanzler, Time$ Pi{;ayruu>
sweetness that made girls fall right out of Entertainment Guide

MOSAIC RECORDS
S TIL L A v A I LAB L E

••••••••••••••••••••••••••••• "This outstancling set provides positive proof


Shorty Rogers was that what is known as West Coast jazz - and THE COMPLETE PACIFIC JAZZ
SMALL GROUP RECORDINGS
much of what is presented hel'e touc:hed oil
a West Coast swinger the genre - was swingin' stuff. It is hard to
OF ART PEPPER

from way back. helieve that some of this matel'ial was recorded
neady 40 yeal"s ago. It still sounds ft'esh and
vital today."

E
verybody thought Shol·ty Rogel's was
just cutting I'econls of "Cool Jazz" in David Zyeh, JazzTirnes
the eady '50s, But, harmonically, he
was creating a whole language of West
Coast jazz. And, l'hythmically, it swung as
han-l as any jazz 1'1'0111 eithel' coast.
Atlantic signed Shorty in 1954, and the
~~~~~~~~~~

Here's one L.A.


.. ~~~~~~~~~~~~~

next 13 months became the most prolific


and creative of his career, But th(' tl'aeks,
soloist wi'th no N.Y. com-
scallel'ed among five LPs on two continents parison - pure Pepper at The Complete Pacific Jazz Small Group
and released over a 20-yem' span, wel'(' Recordings of Art Pepper
neady impossible to find. Sound famiJial'?
his peak. Limited to 7500 copies worldwide.
Less than 1000 copies remaining
It was a typical Mosaic undel'taking-
3 LPs [MR3-105] $30
locating and organizing long unavailable,

A
rt Peppel' nevel' fully adapted to the Not available on CD.
('xtr'emely important l'ecol,ds into proper, cooled-out West Coast style. His
cohel'ent sequence. The Complete Atlantic ph,'asing was jagged and surprising,
and EM1Jazz Recordings ofShort)' ROBers his leaps between regbters dramatic, his tone •••••••••••••••••••••••••••••
do('s exactly that. It contains the cady
Capitol and Nocturne sides, then the live
fuJI and eieh. You ean point to saxophone "I quit!" - Johnny
forebears with elements of his playing, hut
Atlantic LPs in original recol'l-ling order, A all togethel', they belonged only to him.
Hodges to Duke
total of 54 superb, invaluable tracks. He moved easily between blowing dates Ellington in 1951.
Featured an' Bud Shank, Jinuny Giuffre, and big band charts, wilh solos full 01'
Bill Holman, Conte Candoli, Pete Jolly and
spontaneous feagments that still managed

I
Bamey Kessel, among many others. It's all t was a bold move fOl' the geeat. alto sax-
to I'elate ingeniously, The l'I'al tension of his ophonist, and a blow to the Ellington
annotated and described in the booklet,
work, it seemed, was his firm contl'ol and Orchestra. BUI aftee too many yeal's of
illustrated with William Claxton's pho-
precision balanced hy intense emotion, feeling like a sideman, Johnny Hodges felt
tographs of the Atlantic sessions,
The Complete Pacific Jazz Small Group the time had eorne to go it alone,
Recordings ofArt Pepper introduces a He'd been with Ellington sinee 1928,
number of tracks never lwfore available 01' whpn Duke tit'st heard the young alto saxo-
l'eleased only in edited versions, These per- phone player. At 22, Johnny Hodges had
Ihe ehops, together with a fresh individual
formances were made dUI'ing Art's most
style Ihat made him a prime eandidate for
impor·tant years and include quinlet ses-
solo stardom.
sions with ChN Baker and with tenor
Through the years, Hodges had many
saxophonist Bill Perkins as well as a no net opportunities in the spotlight, hoth on tour
date ananged by Shorty Rogers. and on recordings. He developed a signifi-
The booklet includes an (,ssay hy Michael cant following among jazz fans, . , and by
J ames, photographs of the recording ses- the late '30s, he'd become an important
sions and new discographieal information. innuence, What he didn't have was the
chance to prove himself as a learlel',
Time to move on.
Hodges' solo contraet with N(H'man Gl'anz
" ... captures Pepper'sfertileform in
gave him the oppol'tunity to lead his own,
1956 and 1957, . , aU these recordings tight, seven-man working band, Over the
The Complete Atlantic and EMI Jazz course of the next five years, he would su,'-
Recordings of Shorty Rogers tingle with vitality" muml himself with a galaxy of '50s jazz
Limited to 7500 copies worldwide. geeats, including John Colteane, Jimmy
6 LPs [MR6-125] $60 - Erie Levin, Hamilton, Ben Webster, Flip Phillips, HalTY
4 CDs [MD4-125]$60 Camey, Emmett Berey, Sonny Greel', Billy
People
Strayhorn, AI Sears, and LawI'enee Brown.

CALL AND ORDER BY PHONE: 203/327-711110AM-5PM (EST) MONDAy-FRIDAY


16
OR FAX: 203/323-3526 VISA & MASTERCARD ONLY, PLEASE.
But great as the music was, it did not •••••••••••••••••••••••••••••
Iwing Hodges fame, for1une or g10t)' eommcn- Three plays a quarter
sur'ate with the added pressures and details
that went with leading his own bane!. .. . Ike Quebec's soulful
"Welcome back!" - Duke Ellington to jazz jumps off these
Johnny Hodges in 1955. jukebox sides.
In late 1955" Johnny Hodges r'eturned to
the Ellington o"ganization,
ineteen fiJty-two to 1959. Hard times

N
It was the end of a mini-era, The music
created between 1951 and 1955 hy Johnny for the big-toned, impassioned tenor
Hodges and his "small big hand" was released players from Coleman Hawkins and
briel1y on the Clef and NOl'gran labels, and Ben Webster' on down. Hard bop ancl the
later r'eissued on Ver've. For this release, it cool school were the I'age, Ever'ything else
is being made available in its entirety, touk a backseat.
transfelTed din~<:tly from the Ol'if,rinal master' ] ke Quebec, one of the most souU'ul,
tapes, and chronologically sequerwed. The
melodic, and complete musicians to pick up The Complete Blue Note 45 Sessions of
teacks total 15 complete studio sessions with
the tenor saxophone (see Mosaic's The Ike Quebec
Johnny Hodges and Co, - and a delicious
Complete Blue Note Forties Recordings of Limited to 7500 copies worldwide.
wealth of scaled-down Ellingtonian swing. 3 LPs [MR3-121] $30
The booklet includes a musical analysis Ike Quebec and John Hardee [MR4/MD3-
2 CDs [MD2-121] $30
by Stanley Dance, a biography of Johnny 107]), did not recol'd at all dlll'ing this
Hodges, and rare photographs of his hand period. nut he nevel' stopped playing.
in performance.
Real singles. "These sides provide r'evelation uJJon n've-
But hy 1959, the ul'ban, hlack jukebox cit·- lation of Quebec's completeness as a tenor'

-
I0Il_ _
, . (0MftITt

1ft1-1955
cuit was big .mough to hold blues, H&B, and
jazz. So when Blue Note president, Alfred
Lion, decided to cut some singles - r'eal sin-
gles; 45 RPM r'eeonls with a big hole in them
voice. He shares Coleman Hawkins' and
Ben Webster's commandingly stout tone ...
the exuher'ant shout of Count Basic tenor'
Herschel Evans is herf', too. ****"
- and Ike Quebec's sound hit the jukes, his Peter' Kostakis, Down Beltt
music was again recognized for its strength
and heartl'ending beauty. (Note: very few
recordings were constnlctecl to be l'eIeased
"Qu-ebec was definitely a m.aster of SCtxO-
as singles at that time - most singles were
album cuts with a quick fade-oul.) plwtU! jazz. His tone goes bac,," to the
At a total of three single sessions (1959,
1960, and .1962), Quebec was joined by such classic tenor sOlutd of Coleman
sidemen as Skeeter' Best on g"uitar, Milt
Hawkins, Ben Webster, Herschel
Hinton and Sam Jones on bass, Sir Charles
Thompson on organ, and J. C. ]-Ipanl on Evans, Budd Johnson, wuJ. Buddy
The Complete Johnny Hodges
Recordings 1951-1955 dl'ums. Most of the titks, fl'OJIl thl'Oaty blues
Limited to 7500 copies worldwide, or'iginals to big, bold standal'ds, r'emained Tale, His performances show It cease-
6 LPs [MR6-126] $60 unissued on LP u.ntilnow. Mosaic has taken
Not available on CD. Jessl)' inventive jazznwn. "
the entire output of these tll,'ee ,'ecording
dates and assemble.1 them into a three- - Owen Cordle,
", .. ther'e is no hetter' concentration of Hoe1?;es LPftwo-CD set, The Complete Blue Note 45
Raleigh News and Observer
und"I' one cover than this Mosaic set ... " Sessions of Ike Qu-ebec.
W. Royal Stokes, Jazz Times The booklN contains Quebec's biognl-
phy, a complete updated Bluc Note
"He was, as Ellinl,'1.on said, beyond category. discography, a wond(·J'i'ul essay by Wl"itet'
Hodges played with more self-assurance and tenol' playel' Lm'en Schoenberg, and
than almost any musician I've ever seen." many previously unpublished photogr'aphs
Nat HentofT, The Wall Street Journal of the sessions, taken by F,'ancis WoJft'.

#2 Reissue of the Year'


(1988 Down Beat Intel'national Critics Poll)

MOSAIC RECORDS 17
S TIL L A v A I LAB L E

•••••••••••••••••••••••••••••• him with Ba,"ney Bigard and Ben Wt'bstel'


Stan Kenton waged a miJli~EUington front line. Jimmy
1'0'" a
Hamilton replaced Biganl in Ellington's
one-man war against one 1942 band - and stayl'd 25 years. Hp did
dimensional music. Here's most of till' writing fOl' his sl'ssion.
evidence that he won. This single LP indudes a trio date with
Morton's aceomflanist, thl' wonderfully
tasteful Sammy Benskin. Half of his set
he music he was making was heresy!

T
appeal's 1'0" the very first time. Stanlt~y
His statements to the p~e.ss, ~ueh as Dance captures the histol'y and musical
"the integra ted compositIOn IS the analysis in his knowing liner' notes.
thing, not the solo," had the jazz estabJish~
ment up in arms! Yet today, there can be
no doubt that Stan Kenton's greatest crime "This is of immense mllsi.cal interest..
was being ahf,ad of his time.
Hend.erson Chambers's powerful sOllnd
Stan Kenton: The Complete
One of a kind.
Capitol Recordings of is a revelation and his plunger solo in
Kenton had the wodd of exptTimental, Lig~ the Holman and Russo Charts.
band jazz 11I'actically aU to himself. Perhaps Limited to 7500 copies worldwide. 'Slapstidr' would grace any Ellington
that's why he was always able to altnlet 6 LPs [MR6-136] $60
some of the day's gl'eat musicians, vocalists, 4 CDs [MD4-136] $60 band date. Forty~eight minlltes of
composers and a'Tangcrs into his creative
wodd, ineluding saxophonists Bud Shank, music ofsubstance and character wor~
Lee Konitz and Charlie Mal'iano; tl'llmpetel' "FI'om a technical standpoint, the record~ thy indeed of the now-familiar Mosaic
Conte Candoli; trombonist F"ank Rosolino; ings are as clear as if they were digitally
drummers Mel Lewis and Stan Levey; and recorded this year." prodllctwn stand.ards ofcare, pure
most signirif,antly, writer! arrangers BiU Dayid Steinbe,"g, Albuquerque Journal
Russo and Bill Holman. original sound quality (no equalizing or
From 1950, when Russo joined Kenton, "Kenton ,bd pussess an in(luiring intelligence other hypes), and attention to detail."
until 1963 when Holman ended his associa~ and a love of musicianship, and these sides
tion, these two men were "esponsible for' some are the pick of his legacy." - Bl'ian Dayis,
of Kenton's most swinging and adYentlll'e~ Richard Williams, The Sunday IJldepe,u1ent Jnzz Forum
some recordings, Their charts are invariably
the highlights of Kenton's most productive
years, and their reconlings a,'e the ones
that jazz fans haye long been "equesting
that Mosaic organize, and I'estore to pl:int.
•••••••••••••••••••••••••••••
This 6~LP, 4--CD set contains all 72 wod<s
Swing's top soloists
that Russo and Holman wl'ote andJOI' finally stretch out.
arranged for Kenton, induding Russo's
famous "2:3 Degrees West - 82 Degl'ees t was a little world caught between worlds_
North," and Holman~alTangedstandards
such as "Stella By Starlight" and
"Yesterdays."
Most of tlus music has been unavailable
I The wartime economy and changing
taste forced musicians to explore smaller
units. But bop wasn't the stuff 1'0" guys
used to ensembles and tuxedos. The I"esult,
1'01' many yeaJ's, Some appeared on lO~inch then, was the swingtet, and sessions with more
LPs that were nevel' reissued. Seyeral
solo spaee 1'01' musicians at the height of
recOl'dings appearerl only bl'iefly on their powel'S.
Kenton's own Creative World recol·d label. The Benny Morton arul Jimmy Hamilton
One performance is being released hel"e fOI" Swingt.ets completes the I'escue of Blue Note
the fi"st time. I-ecordings in the idiom. These swing ses~ The Benny Morton and Jimmy Hamilton
A buoklet wl'iuen by authol' Will Blue Note Swingtets
sions fl'om 1945 captul'e the mood of one
Friedwald, reminiscences w,"ilten by Holman generation in the fOl'mat of a newer one. Limited to 7500 copies worldwide.
and Russo and rare photographs round out 1 LP [MR-115] $10
Benny M.orton was a trombonist who could Not available on CD.
this long ovel'due compiJation. belt it out 01' weave subtly, Lion coupled

MOSAIC RECORDS 19
S TIL L A v A I LAB L E

44444444444444444444444444444 had caught up with musicianship and his


Time out: Here's a Roulette albums remain among the finest
sounding reeords of Basie's career.
personal pitch for some Out in front, he had assembled some of
of the finest tenor the most exciting soloists of the day, like
playing ever. Joe Newman, Thad Jones, Frank Wess,
Fr'ank Foster and AI Gl'ey, What n~aJly
gave the new Basie band its signature was a

W
at we need here at Mosaic is a new generation of char'ts - model'n,
patmn - someone who will just swinging, high-pl'ecision or'chestnltions
dump bags ofrnoney at the door supplied by a virtual who's-who of modern
and let us put out records like The jazz arranging, induding Quincy Jones,
CornpLete Bllle Note Forties Recordings of Er'nie Wilkins, Frank Foster', Thad Jones,
Ike Qllebec and John Hardee without Benny Cat'tel' and Neail Hefti,
I'egard 1'01' pmfitability. Any applications?
Live all night.
The Complete Blue Note Forties
Full of love and soul. On three occasions during this era, the
Recordings of Ike Quebec and John
Her'e's why we want to keep this music Hardee Basil' Or'chestra was recorded live by pr'o-
alive: For' John .Hanlee, it's that he's a Limited to 5000 copies worldwide, ducel' Teddy Reig. The fil'st was a
gl'eat example of a '40s musician wOl'king 4 LPs [MR4-107] $40 legendar'y night at a disc jockey convention
in New YOl'k - in Camegie Hall one night 3 COs [Mo3-107] $45
in Miami, on May 31, 1959, when the band
and a Bl'onx bar' the next - always shouting began playillg at 1 a.m, and didn't finish
on his horn, fuJJ of love and soul and until well after sunrise. With the help of
to come to LP.!t's about time."
swing, Fol' Ike Quebec, the I'eason's a little guests like Harry "Sweets" Edison and Joe
Bob Porter', JazzTirnes
different: Aecor'ding to Michael, "Ike Williams, the band was wailing. Less than
Quebec has always been one of tbe few half of the results were included on the
"Mosaic cannot be praised too highly for
players who I'eally touches my heart." eight-tune album I'eleased from the session.
,'eissuing this ran~ '40s outplll of two sadly
Both Hal'dee and Quebec came up at a Breakfast, Barb"cue r.tnd Dance.
neglected tenol' men, with Ike Quebec quite
critical time, when swing had swung and
dd'initely proving his place alongside the Basie at Birdland ... and abroad.
bop wasn't hom, Har'dee marked those years
tenor giants of jazz." Two yeal's latel', inJune 19()1, during the
with these sessions including Tiny Grimes,
Brian Davis, Jazz Forllm final two days of a two-week engagement at
Sammy Benskin, plus Sid Catlett, Jimmy
Shidey, Gene Ramey, TI'ummy Young, Bir'dland, the band was confident, tight,
and othel's. and inspired. 0, C. Smith was the band

Quebec's inno'vation. 44444444444444444444444444444


Quebec was a soulful master of the balJad, Twenty years after
In addition to his career as a player, he Count Basie was in his
was also an A&R man at Blue Note,
I'esponsible for br'inging Monk, Bud Powell prime ... he entered his
and many other modernists to the label. second prime!
And yet, despite his innovation and taste,
he is still negleeted, more than 20 years after
y 1957, twenty years had passed
his death! At least we have h.is sides with Tiny
Gr'imes, Ram Ramirez, Milt Hinton, Buek
Clayton, Tyree Glenn, Oseal' Pettiford,
and mOre,
B sine.'.e t. he heyday of the Count Basil'
Orchestr·a.

Entering the Atomic Age.


The set: four LPslthl'ee CDs ineJuding 14 The conventional wisdom was that Basil'
unissued sides, 14 mOl'e available until now had long since peaked. The conventional
only on 78s and 28 only on var'ious out-of- wisdom was wl'Ong. In 1958, Count Basie's
pl'int anthologies. The booklet includes an first album for Roulette R"conls was The Complete Roulette Live Recordings
essay by Dan MOI'genstern, newly researched released, and The Ittornic Mr, Basie set the of Count Basie and his Orchestra
(1958-1962)
biographies, and r'are photographs. jazz world on its eal'.
Limited to 7500 copies worldwide.
J3asi(~'s Rou lette period (l958--19()2), 12 LPs (MR12-135] $120
"The Ike Quebec perfOl'mances are great featuring his "Atomic Band," is now consid- 8 CDs [Mo8-135] $120
jazz. , . some of the last gl'eat swing music ered to he his second gr'eat era, Technology

20 CALL AND ORDER BY PHONE: 203/327-711110AM-5PM (EST) MONDAY-FRIDAY


OR FAX: 203/323-3526 VISA & MASTERCARD ONLY, PLEASE.
vocaLi,t on many of the tunes, with guest •••••••••••••••••••••••••••••
appearances by Jon Hendricks and S31'ah Presenting The Complete
Vaughan, A wealth of matuial was
n~eonJcd, hut nnly onr~ album, Basil" at
Dean Benedetti
Rirdlarul, ITleased, Recordings of Charlie
Basie'5 last Jive sessions fo\' Roulette Parker.
took plar,e at a dub in Stotkho)m during a
I'elaxed foul'-day f,'ig in August 1962, Louis

T
Bellson, suhbing for Sonny Payne on he s.t 01')' hehind the m),th bel,rins in.
drums, gave the hand a speciall<iel<, while March of '47.
Irene Heid and O. C. Sm.ith handled the Bird took an extender! gig at the Hi-De-
vocals. An unfol'gettahle I'ed'ormance of Ro in Los Angel('s with Howard McGhee,
"April in Pari;;" helped mal,e the Rasie in Hampton Hawes, Addison Farmer' and Roy
Sweden alhum a ;;uccess. Portel·. BinI was healthy, having just coml'
out of Camarillo Stat(e .Hospital, ami hp wa;;
Nine albums of unreleased, live Basie. at the peak of his powers. When a saxophone The Complete Dean Benedetti
Mosaic';;12-LP, 8-CD package, The playedamateul' n~eordisl name(1 Dean Recordings of Charlie Parker.
Complete H.oulettl" Live Recordings of Benedeui hean1 hun, hI" was aweslnl('k. Not a Limited Edition.
Count Rasie and His Orchestra (/958- BenedeUi approadwd Bini and asked for 10 LPs [MR10-129] $100
1962) includes cvel'y one of the 2S l.ive 7 CDs [MD7-129] $105
pel'mission to run a dise r<~(:order dUI'ing the
tracks relea,ed by Roulette on Ba;;ip's three sets. Bil'd agL'eed, and Benedetti began! To
live LPs, plus an astonishing 108 previously pl'esel've disc space, Bpnedetli would Slart
thi;; pel'iod, a hiognlph)' ofD"an B(·,nedpui
unissued perform.ances. rn every r'ase the the mach.ine when Birel was soloing, and stop
b), Bob POI·t(~r, a musical analys;;; I,y Pal"kel'
OI'iginal playing onler has heen faithfuUy the machine as soon a, the solo was ovel',
authOl'it)' James Patl'iek, and Phil Schaap's
adhered to. The Miami and Birdland pel'- Benedetti u;;ed a mike, I'laeed l·ight in front
ulInpJete annotated discography of all the
formances have heen lH'wly mixed fl'om the of BinI's instrument, and except 1'01' Bird
music in the S(,t.
nriginalth"ec-track tapes, and the Swedish and the hass directly hehind him, little el;;e
The Complete Df>an Bener/etti Heron/illgs
tl'acks haYt~ heen tl'ansferred directly from was eaptured on disc..
o/Charlie Parker is OUI' 1II'st Mosaic Un!imitl'o
the (wiginal two-tracl, masters. Using this technique, Benedetti n'conled
I'elease. Since we o\\'n, ratlwl'lhan II'ase, tlw
The hooklet include;; a pOI'tl'ait nf the m,arly four hours of concenll'ated BinI solos
l'ights to these reconungs., W('. are not restl'i(·ted
hand and a track-hy-tnl<;k musical analysis ov('!' a two-w(,ek IWl'iod, with the sound
in any way as 10 thf' numhf'r (If sl'ls w(' ..an
by Chris Sheridan, authol' of Count Basie: val'ying from quite poor to fairly gnoel,
makf' available, This histori .. set, as WI',U as
A Rio-Di.scography, and I'are photographs Bil'd's musical ideas, howeve.', are nevel'less
future Mosaic Unlimitt:d sets, will n'main in
fl'Om the el'a. than I..-illiant.
print and available to thp intemational jazz
On to New York. communit), for as long as Mosaic exists,
"Then~'s no nostalgia in nllmlwrs I.ikp. "Li'l
Darlin'" or the Count's tOllchstone "Apl'il Latel' in '47, BinI neturnt'd to New YOI·k
.. , and Benedetti followed, This tim", how- "The 48-pagf' booklet is a mastl'rpiecp of his-
in Pari;;," not a hint of th(e L1nti<fllp., This is
evpr, he had an t'a"'y ll1odell.ape '"eco"dcl'. toriogL'aphy, with Pa "ker's solos II'ansITilwd,
jazz thai IHlI'ns on eneq,y, spiril and inspi-
B,'nedelti taped Bird one night at the Onyx, rare photos, and mieroscopi"ally df'tailed
I'ation, and swings on fr\f'(' vel'. "
and another night at thle Three Deuces essa)'s by Schaap, Porter and Jim PatTi.. k."
Time
(where in one segment. we hear Monk com-
", .. a mOlhedorlp of high-eneq,'y alTangc- ing out of the audience to tear,h Bil'd how to
play "Straight, No Chaser,") The quality of "In. an. art form whose principnl rltar-
ments and gn~at playing. It', also a Il'iumph
of packaging.. " th£' New York n,conlings is quite good, and
acteristic is improvisation, this cache
Newsweek they account fol' fully half of this collection.
These are the Bel1f~detti I'e(~orrlings in of work by one of the genuine giants is
"Featuring mOl'e than eight hOLll'S of music, their' entiret)" and aftl'" fOI"t)' y.'al's of
rumor, speculation and dehat(e, they al'e at in fact something like a previously
most of it previously unreleased, Ihese CD's
offer an unlll'('n~dented look at an ul'ehestra last availahle to the wodrl.
undiscovered trunk of Beet.hoven
in action. The music itself is cxtraonl.inal'y, Everything is t"ansfel'l'ed dil'ectly from
and yet casual." the ol'iginal discs and tapes hy legendary nlanWK ripts, "
Petel' Watl'ous, New York Times engineer Jal;k Towel·s and eo-pl'odllCt'" Phil
Schaap. The 48-page booklet includes musi- - Jack Fullel', Chicago Tribune
ealtl'anseriplion;; by Benedetti and others,
essays by Phil Schaap on Parker's life during

MOSAIC RECORDS 2]
, .

• ON LOCATION orw
......, V_';'
~in~h:I~S~li;vii~~~~~;JIP"""
standard for
capturing jazz 011 recordings. At this live remot ••••
r-""""""-.'-J1lllll 1cI Byrd at 111:&
11,1960, produc
.1Ip, .hlt "
~}itt " ......&~
~th III

with the great souUet.hneer. Rudy's equip-


ment back then appears crude compared to his
preferred medium today - digital (see Inter-
view). But the pursuit of excellence was the
..... Photograph by Francis Wolff.
The Rudy Van Gelder Interview

Modern Jazz Recording


Grew Up in His Parents'
Living Room.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
Did you design the living room to be (j
udy Van Gelder is the legendary sound engineer whose technical ingenuity
R and lo've of mu.sic forever influenced the way we listen to recorded jazz.
Van Gelder was a practicing optom~t,ist in the late '40s when he set up his
recording studio?
No, not then. It was a nne-floor houst>, hut
there was a nice high ceiJjng in the living
Just, nwdest recording studio in the living room of his par-ents' home in room and it had tittle halJways, and tittle
Hackensack, New Jersey. In that room, he would go on 10 record most of the nooks and crannies going off. It was really
nwjor East Coast jazz artists of the 19.50s, including virtuaUy every session for a nice place to ref:ol"{l in. Made som(' good
Blue Note and Prestige Records as weU as nwny classical dates for Vox and t'{~cords then' on Wcdne~day, which I had

other labels. off, I would ref:Ord aU day for Pn'stigp, or


Savoy, or Blue Note.
In 19.59, over the course of a single weekend, Van Gelder moved his studio
to his own new home in Englewood Cliffs, Nj, where it has renwined. Van
Is there some way YOlt can LeU me how
Gelder has kept pace with the technicLtl advances that have occurred since that
come yonr records didn't sound like any-
time and renwins as active as ever. "Anyone wants to come out and get a good one else's records;) Bltt-c No/.e records
two-track thing going, I'm ready, " says Rudy. specifically;)
In 1986, Van Gelder agreed to a rare rad;v ;.ntenJ;.ew with Ben .s;,dran of Well, it's not ",asy to desc,'ib{, it in wonls.
National Public Radio. .some excerpts: It's a question of Alfred Lion pn~sf'nting
me with a pl'Oblem and my solution to thc
H DY VAN GELDER: Back in thp. '40s equipnwnt. There was nothing available problem.
thtTC was no recording ind ustry as such. that you could go out and buy. Then~ was
From an enl:,rineering standpoint, it was an no manufacture of consoles. That didn't How 'was the problem presented?
offshoot of the radio stations. The engi- exist. You had to make YOlll' own. The big He was unique at tnat time in that he 1.lI"e-
neers usually workp.d for companies who {~ompanies had their own staff of engineer- visualized 0/' pre-aun,).izefl his l'ecoeds.
were associated in some way with ,·adio. It ing people and maintenance people who He Imew what he wanted before he nUlIe to
was totalJy liifferenl. The equipment was would do that. That's why there were only the studio. He wOltld then bring thrse
different. Eve"ything was diffe,'ent. two or' three {'ompanies doing it. musicians in, and I c:onsidered it was my
job to make these people sound the way hI:'
And you were a hobbyist iniLiaUy? And did yOll build your amplifiers at tha/. thought they should sound. Now, 1 want to
Yes, that's right. T was a radio ham opera- point? say that's within the fr'amewOl'k of the
tOl' originally, also an amateut· musi«;ian. Absolutely. You had to build everything musicians themselves, too. That's where it
So the two things sort of came together and yourself. I'eally begins. We're talking about jazz
that's how it happened. now, where it's an exprt'ssion of a musi-
You did graduate from school and practice cian's personality and his own sound. And
That's probably a real interesting [Joint, as an optometrist . .. he's recognizable, and he's unique, and
the fact that you weren't comingfromjust Thirteen years I did that. Of course, by you can identify him just as t'asiJy as I can
the musical side of it or just the ham radio '52, I was also recording. Actually, it was n~cognize YOU," voice or' your face when I
side, but you brought the two together. dUl'ing that period that r was doing aU of see yOU. Alil'ed had a way of presenting
Yes, I've always felt that it was a strange those eady mue Note things, and Prestige. the situation - here they al'e, this is the
combination of ways to look at music:, At The Modern Jazz Quartet and Miles and way they sound as individuaJs, oow yOll go
that time you had to build all your own all of those people wel'e (;orning over to my ahead and do what you have to do lo make
parents' home and T was n~eordiJig them.

MOSAIC RECORDS 23
Rudy VanGelder interview, continued

that thing sound the way we want it to Hackensack was in July 1959, Iremembel" to be able to use that as a way to make records,
sound - and that's how he would present very c1ear'ly the panic of hl"eaking down
the p!'Ohlem, that studio over there on a Friday and then YOll didn't llse earphones in Hackensack?
setting up here fOl' a session Monday mOI"n- That's exactly l'ight. It's almost as if- if you
I think some musicians don't know what ing. Moving the console, moving the wanted to think of a way to inhibit creativity
they sound like until they hear themselves machines, getting everything )-ight. Oh it in jazz music in the stumo, you would come
011 tape. was a terrible time, but I did it and we up with a multi-track machine, a 24-track
That's right. I beljeve that. And thel-e's I'ecorded Friday in Hackensack and recorder you could overdub on. It's a
nothing really bad about that. It's under- Monday in Englewood Cljffs. machine of mass destl"uction. I mean, what
standable - a tl-umpet player' is th.-ee feet we've been saying is, that in OI'der to make
from where the bell is and 20 feet f!'Om Wlwt was your Jeeling when multi-track a presentable record, a jazz record, eve."y-
wher'e the sound is ('eally cl·eated. recording came along? one has to play together, and they have to
play together at one time. And once you
e1i/mnate that necessity, then you've
lIlt I'm going to do a session and I can choose described a situation where you don't have
to play together, and the musician doesn't
what I want to choose, I will choose a digital have to listen to other musicians. He can
just do ills own thing, and you can ftx it later',
recorder. There's just no question about it. " But if you can't do it later. then while thp
two musicians al'e playing togethel', they
have to listen to each other. They have to.

Let's talkJor a minute about thefeeung Well, in the beginning, I reaUy resisted it. 1grew up listening to scratchy Charlie
that those musicians brought with them Multi-track didn't happen at once. You'l-e Parker records -1 would listen past that
when they call1.e into the room. Is your assulmng that everyone went from one- and I would hear the art and I would be
memory specifu; in terms ojwhat the Jeel- track to 24. It didn't work that way. It happy . .. am I being sold a bill ofgoods
ing was, doing those sessions night after evolved track by track. First one-track, with this digital stuff?
flight? then two-tl-ack, then three-track, then If I'm going to do a session and I can
First of aLI, it wasn't night after mght. It fom,-track, then eight-track, then 16- choose what I want to choose, I will choose
was very often day after day. Not even 50 track, with maybc 12-traek in hetween and a digital recorde ... There's just no ques-
percent of them were done at night. A lot all the val'iations, too. And the mOl-e tion about it.
of them were done on Sunday afternoon. tr-acks you had, and the more you used, the
Alfred and Frank had to run their business less you had to do it right, from the begin- What about the technical criticism ofdigi-
during the week, and they uked to come in ning. And that's the way the recorel tal recording that I've read about, the
Sunday and do theil' sessions. indust.,y is. fJrubletn~ of it feeling unnatural in some
ways?
What was theJeeling of those sessions? What was most exciting to you about Digital recording has been totally reliable
It's not a specifIC feeling, it's more of a gen- multi-track? [01' me. It fll1al.ly does what a tape machme

eral feeung. But I have a recollection that I thought, this is terrific! Now 1 don't have should do - I"eally, just store what you're
what we were doing was important at the to be gr-eat on each date. I can relax. I can putting into it. No analog machine ever
time. It was impOl'tant to the producer-s, it just make sure everything goes right, and made could do that correctly. None. Not
was impol"tant to me. I felt that it was mOI"e then we're going to mix it later and have a even the best, the most expensive, could
important than the politics of the day Or second chalice at everything if I miss all ever do what a pt-opedy designed two-track
anything else that was going on, What we enh"ance of a solo or something Like that - I'm digital machine will do. We'n~ talking
wel-e doing really had a lasting sigmricance, going to be able to fix it later. But it didn't about clarity of sound, clean sound, wide
II"caUy had that impression at the time. work out uke that because musicians were range, beautiful, no noise problems,
just as aware of this as J was, and it ended To me it's made working a pleasure.
When JOlt movedfrom Yoltr parents' house up that they used it for Mfel'ent purposes. It's uke starting aLI over again and being
in Hackensack, to the new stu.dio, it was They wanted to overdub, amI once you- were excited about t.hings, uke being able to play
late in the '50s, is that correct? overdubbing they hali to have eal'phones, back a g,'eat sound to the group right aftet"
I don't have an internal time clock that and everyone had to hear what was on the they've played it, and they can heat· it right
tells me where I am at every moment, but tape, and then a generation of musicians then. Everybody knows it's good, Before
Bob POI'tel" established that the last date in developed that relied on that and expected they go home.

24 CALL AND ORDER BY PHONE: 203/327-711110AM-5PM (EST) MONDAY-FRIDAY


OR FAX; 203/323-3526 VISA & MASTERCARD ONLY, PLEASE.
S TIL L A v A I LAB L E

••••••••••••••••••••••••••••• blend of Getz 's tenor and Haney's guita"


A jazz organist more playi.ng in tand(~m, was a sound that was
unique in jazz . .It was almost as if Getz and
influenced by John Raney hl'eathed togethe,-. The piano (,hair
Coltrane than Jimmy was initially filled by Getz discover"y HOI"ace
Smith? Silver', then Al Haig, and, finally, Duke
Jordan.
A decade later', Stan Getz had moved on

A
~a 196; session for Gr'ant Gr~en's to almost unbelievable celebl-ity. His Roost
falktn About album,featurmg quintet recordings wen' reissued and r'eis-
Larry Young on organ and Elvin sued again, usually in haphazard fashion,
Jones on drums, Alf/'cd Lion heard Young's with atrocious sound.
astounding talent and signcd him to Blue Now, fo" The Complete Recordings oj'
Note "ight away. the Stan Getz Quintet with Jimmy Railey,
Alfred Lion knew. we are including the original Roost studio
The Complete Blue Note Recordings sessions, as well as the g.'eat live session
For the next twelve months Lion kept Larry
of Larry Young.
Young husy recording his Bluc Note solo r:eeOl'ded at Boston's StoryviUe, the qillntet's
Limited to 7500 copies worldwide,
debut album, Into Something, and appear- 9 LPs [MR9-137}$90 final session as a wo,-king unit, l"eeon1cd for
ing as a sideman on two more Gr'ant Green 6 CDs [MD6-137} $90 Verve in 1952, and the quintet's 195;~
albums, Street oIVrearns and I Want to reunion session, recOI'ded fo.- P,'estige
Hold Your Hand. under Jimmy Raney's name, All in all, this
Thcn, in Novcm}>er 1965, Larry Young's is thc Getz to stand the test of timc.
terms of orr:hestration and ensemble,
post-Smith style exploded on Unity, featwmg Our booklet includes a hiogl'aphy of
Throughout the Mosaic box, Young revels
Joe Henderson on tenor, Woody Shaw on Stan Getz and ral'e early pholog,·aphs.
in ensemhle give-and-take."
tnunpct and Elvin Jones on dl'UJ11s. It was the Jon Ga,-elick, The Bostol1 Phoenix
album that wouln changc the sound ann attitude
of jazz organ for aU time, and inspire a strWg of
follow-up alhwns that would clinch YOWlg'S
placc in jazz history as the most inlluentiaJjazz •••••••••••••••••••••••••••••
organist of his generation, and the next. The Stan Getz recordings
The Complete Blue Note Recordings oj' that set him apart from
Larry Young, a 9-LP, 6-CD set, includes
Lany Young's total output for Blue Note.
the herd.
In addition to three albums as a sideman
with G)'ant Green, Young recorded six hen Leste,' Young disciple Stan
albums undel' his own name, fcaturing such
'60s greats as James Spaulding, Lce
Mot'gan, Geo"ge Benson and Eddie Gladden.
W Getz recor'ded "Early Autumn"
with the Woody He"man hand, a
star was born.
1'111' booklet includes a biography by Even as part of thl·~ "Four' B,'others"
Michael Cuscuna, and many previously tenor saxophone al'senal in Herman's
unpublished session photographs by Henl, Getz's fluid tone and rav'ishingly
Francis Wolff. heautiful musical ideas were a singular
delight. In his solos, Getz managed to tr'ans-
The Complete Recordings of the Stan
, . the n~leas(~ of The Complete BLue Note f0l'l11 the lyrical bri.lLancc of Lester Young's
Getz Quintet with Jimmy Raney.
Recordings oj'Larry Young .:an only help playing into a mode,-n, vibr'ant style that Limited to 7500 copies worldwide.
draw rnon~ attention to this daring musi- seemed to touch everyone who heard it. 4 LPs [MR4-131] $40
cian, Young took jazz oq,;an to places 3 CDs [MD3-131] $45
On his own.
Jimmy Smith. feared to tread, Rediscov-
With his creative )Jowers at their peak,
ering Young can b(~ a revelation,"
Stan Getz left Woody Herman and set out on "The cagerl)' anticipated Stan Getz Quintet
Steve Futterman, Rolling Stone
his own, Afte,' a couple of years of fronting r'ecordings, , , an-ived today, It meNs
h.is own qual'tet, he added Jimmy Raney on every expectation - which I must tell you
"Aside fro III taking the instrument another
gwtar, giving the band gI'eater tooal variety. was quite h.igh!"
step into the world of Colt,'ane, Young had
The Stan Getz Quintet, with its gorgeous Dick Bank, Los Angeles, California
an uncommon sense of his instrument in

MOSAIC RECORDS 25
S TIL L A v A I LAB L E

••••••••••••••••••••••••••••• worthwhile alternate takes, there are two poserlarranger and an impeccably tasteful
Grant Green, we later pedormances featuring Sonny Clark, pianist whose entire body of work deserves
much wider recognition,
Ike Quebec, and a Lati.n rhythm section.
hardly knew you. The booklet indudes an essay by Bob Mosaic's set, transferred <lit'ectly from the
Blumenthal and many unpublished session origina I stereo master tapes, contains every-
photographs by Francis Wolff. thing that Freddie Redd recorded for Blue

G
uitarist Grant Green could play the
whole spectnun, from blues with a Note. "pleased and unreleased. Fans of the
backbeat to the modern experiments "Green was a master at hinting at ideas, Shades ~fRedd alhum should note that it
slipping into a blues phrase fot, a seeond, appears here in stet"eo for the first time, along
of LatTy Young. Blue Note recorded Green
only to tail away with a run, Throughollt with two previously unissued alternate takes.
in a vat'iety of funky settings. But for pure
hard bop, nothing matched Green's four the pieces tbet'e's a feeling that Gt"een saw Tina, too.
sessions with Sonny Clark in '61 and '62. music making as an at·t in whi(~h each note Of panicular intet'est to Nlosaie "regulal's"
Unfortunately for the wodd of jazz, these had to make sense," is the fact that in addition to expanding the
magnificent sessions weren't in keeping with Petet' Watt"ous, The New York Times world's view of Freddie Redd, tlus relpase
the soulful image that Blue Note had in mind also adds significantly to the pt'eciously
for Gt'ant Grt'en. So, for nearly 20 yeat's, sparse recorded legacy of Tina Brooks.
they remained unissued in Blue Note's vaults. The booklet eontains an up-to-date hiog-
Then, in the late '70s, news of these
sessions - and a l'eaffirmation of Gl'ant
••••••••••••••••••••••••••••• raphy of Freddie Redd, as told to Will
Thol'llblll"y. Also included at'e the ot'iginal
Green's brilliance - came out. Two Grant
The Connection should
GreenJSonny Clark albums were l'cleased have launched a long
in Japan, followed a few years latet' by two recording career for
others in the U.S.
One of Blue Note's house pianists, Clark Freddie Redd.
had played with the likes of Buddy DeFnmco, Inexplicably, it didn't.
John Coltrane and Dinah Washington. For
the Grant Gt'een sessions, Clark was joined

T
by Sam Jones on bass and Louis Hayes (or, he Connection was an early example
in one case, Art Blakey) on drums. On one of jazz reach,in g, heyont,l its accepted
occasion, Ike Quebec was added to the group. platform in duhs and conee,"t halls.
Now, for the first time, these t'are As the playwright, Jaek GeIbel., coneeived
performances of Grant Gt"een at his purest it, jazz would be used, live oostage, as an
and best, featuring Sonny Clat"k shortly integral par't of the dramatic show, New York
before his death of a heart attack at age 32, pianist/eomposel' Ft'eddie Redd was hired to
are being made available in their entirety, wt'ite and perform the play's inventive, eon-
In addition to everything significant recorded temporal'y scot"e. and when the play beeame
an immediate eult hit, Blue Note signed him. The Complete Blue Note Recordings of
at the four sessions, including several
Freddie Redd and his stage quartet (whieh Freddie Redd
also included Jackie McLean on saxophone) Limited to 7500 copies worldwide.
made their '"ecording debut with The 3 LPs [MR3-124] $30
Connection score. 2 COs [Mo2-124] $30

One strike, you're out. linel' notes to The Connection and Shades 0/
Fot" a time, it seemed that Freddie Redd would Redd, a musical analysis provided hy Ben
have a long recording cal'eer ahead of him. Sidt'an, a complete Freddie Redd discogra-
But the superb follOW-lip album, Shades of phy, and t"are Francis Wolff photographs
Redd, which featured Jackie McLean from the original Blue Note sessions,
together with Paul Chambel's, Louis Hayes.
and Tina Brooks, did not sell very well,' ' "As the incandescent perfot'mances on this
appal"ently due to the vagaries of popular handsome anthology remind us, Redd was a
taste at the time. And Redd's next session, relentlessly swinging piano player ... "
which ineJuded Benny Bailey on trumpet, Jim Millet', Newsweek
wasn't even released. Freddie Redd was
never to record again for BIlle Note. "The colleetion reveals something nobody
A dazz:ling triple play. seems to have noticed before: Redd is on~ of
The Complete Blue Note Recordings of the very best hard bop composers, the equal
Grant Green with Sonny Clark.
Today, Freddie Redd is still pet1ot'ming ...
still known primarily as the man behind The of Horace Silver, fot, example, as well as a
Limited to 7500 copies worldwide. most ingenious pianist."
5 LPs [MR5-133] $50 Connection. But as his complete Blue Note
sessions demonstrate. he is a superb com- John Litweiler, Chicago Tribune
4 COs [Mo4-133] $60

26 CALL AND ORDER BY PHONE: 203/327-711110AM-5PM (EST) MONDAy-FRIDAY


OR FAX: 203/323-3526 VISA & MASTERCARD ONLY, PLEASE.
S TIL L A v A I LAB L E

••••••••••••••••••••••••••••• rhythmie density; it is idiosyncratic and


The first Bud Powell I'IIfCClMPIRI
IUD PC\!IIU
IWllon
brimrning with eharactel',

collection that isn't IltOltllGl


(1949,1958) Nearly double the amount of Herbie's
work on record.
screwed up. With pride and elation, Mosaic presents The
Complete Blue Note Recordings of Herbie
e'd be willing to bet a high per- Ni<:hols, 30 tlmes and 18 alternates o,'iginaUy

W centage of the people reading this


brochure own at least some Blue
Note Bud Powell What has always puzzled
t'eeonled in 1955 and 19.56 that amount to
five LPs or three CDs - nearly doubling the
amount of Herbie Nichols' work on rl'cOt"d,
us is the strange way the music has been The inn'edible t!'io performances feature
released throu~hout the years. bassists AJ MeKibbon and Teddy Kotick,
Take Bud's very fil'st session for the and drummers Art Blakey and Max Roaeh.
label. Up until now, the 11 tracks recorded We feel this joyous music is some of the
that incredible afternoon of innovation and most important ever made,
The Complete Bud Powell Blue Note
inspiration have been available only on The booklet includes an intimate pet"-
Recordings (1949-1958)
four different albums - never all together Limited to 7500 copies worldwide. sonal portt'ait and musical analysis by
and in recorded sequence. 5 LPs [MR5-ll6] $50 Roswell Rudd, AJso included at'e sevl'l'al
Not available on CD. unpublished Niehols poems, as well as
His most spectacular recordings. reprints of his writings on music, a complete
So here at Mosaic, we've done the only discography of his work as sideman and
right thing. At last, it's possible to heal' leadel', a wealth of previously unpublished
Bud's work complete, whole, and fOJ'ever ••••••••••••••••••••••••••••• photographs by FI"aneis WoUf, and testa-
on The Complete Bud PoweU Blue Note
"It seems like you either ments from artists who knew him, including
Recordings (1949-1958), By universal At'chie Shepp, Max Roach, and Sheila
assent, the Blue Notes are the most consis- have to be an Uncle Tom Jordan,
tent and spectacular recordings by this or a drug addict to make
chief architect of bebop piano, #1 Reissue of the Year"
it in jazz, and I'm not (1988 Down Beat International Critics Poll)
Ferocious, intl'icate, dignified, surpris-
ingly joyful. This set eorreets the sequence either one." "A masterfully assemhled reminder of a
of Bud's first set for the label and adds all regrettably ignored artist. It rates an
of his 1953 date - 10 definitive perfor- unqualified five stat·s."

~
e scene aceording to Herbie Nichols,
mances - for the first time on one LP, in who was largely if,'llOred by his peel's, Leonanl Feathet', The L.A, Times
proper order, Included as well are a few the record companies, and the dubs,
relevant alternate takes never before avail- If fame eluded him, inspiration didn't;
ahle with the original masters, pianist and eomposel' Hel'bie Nichols wl'ote
Sidemen include Fats Navarn>, Sonny OVe!" 100 ()["iginal and eomplex jazz compo-

Hollins, Roy Haynes, Max Roaeh, Art sitions (mixed in with poetry, operas,
Taylor, Philly Joe Jones, GeOl'ge Duviviel', theatel' pie!~l's, prose, and dassical music).
Sam Jones, and Paul Chambers. Five LPs,
Imagine Teddy Wilson mingled with
plus a booklet, with a rare reminiscence by
Monk.
Alfnxl Lion, analysis by Mal·k Gar"dner,
To paraphrase A. B, Spdhnan in Four Lives
and F't"ancis Wolff's unpublished pho-
in the Bebop Business, Herbie Nichols'
tographs of the actual sessions. HUJTy. As
piano playing has both Teddy Wilson's ele-
with all Mosaic sets, when this sells out, we
gant clal';ty and a complex melodie/rhythmic
won't press any more,
stnll:turl' as unique as Man k 's.
Sa,Uy, this imml'nse, ol"iginaltalent has a
"The set is imperative and the results -
name few people recognize; he spent a lot of
indispensable. "
his life playing in Dixieland bands. Herbie
Boh Blumenthal, Boston Phoenix
Nichols only l'I'r'OI'ded a few tunes for Savoy,
two lO-ineh LPs and one] 2-ineh LP fOl' The Complete Blue Note Recordings of
"It's good to have this impn~ssive body of
Blue Note, and a final alJlUm for Bethlehem Herbie Nichols
music in one definitive edition."
before he died of leu kemia in ] 963 a t the age Limited to 7500 copies worldwide.
Francis Davis, Phiu1delphia inquirer 5 LPs [MR5-ll8] $45
of '~3. Herbie Nichols' revolutionary music
is filled with swinging melodic lines and 3 CDs [MD3-1l8] $45

28 CALL AND ORDER BY PHONE: 203/327-711110AM-SPM (EST) MONDAY-fRIDAY


OR FAX: 203/323-3526 VISA & MASTERCARD ONLY, PLEASE.
"The paintedy detail of Nichols' composi- "J azz is I'al'ely as pl'eUy as this; and jazz this as a leader, as equal in quality and inspil'a-
tions and the percussive density of his pn>tty is pmeticaUy nevel' so fuJl of sullstanee." tion to his first sessions fOl' Blue Note,
chord c1ustlTs will startl<, anyone who Richanl Williams, The London Times Thes" pianistic tOllrs deforce put to the
hasn't heard him hefol'e. Easily the year's test, once and for aU, the notion Monk sae-
most signifir',ant reissue," "It's a tleaming made in Iyeical heaven, I'ificed teehnique to sel'V(~ his style,
Francis Davis, Philadelphia Inquirer Entering this wo,'ld of hreathy beauty and AJl the solos and trios he ITeOl'ded on that
ready wit, you'll find it perfectly easy to one day, plus an entil'e nine-cut stndio date
sail through all six records and then start from Paris in 1954, appear togethel' for the
over again. And again," first time on The Complete Black Uon and
Lloyd Sachs, Chicago Slln Times Vogue Recordings ~fTheloniolls Il'lonk.

First cut worth the price.


••••••••••••••••••••••••••••• The very first cut he I'ecorded in that
"Dry martinis." London studio is wOI,th the pl'ice of the
whole set alone.
It was un unfamilial' studio and instru-

~
at's Paul Desmond's own descrip-
ment. Pianist and piano had to gt'l to know
tion of his celebl'ated sound: the sexy,
each othel', Monk, [.eing a compos"r, ('ould
subtle alto, cutting :hrough the
not calTY out even this task without expel'i-
countel' rhythms and affirmative chOl'ds of
menting with chords and melodies. What
the Dave 8mbeck Quartet. Tangible. he played in total p,-ivaey leads to unpn>ct"-
Minimal. Sophisticated. Slt'aight up. dented understanding of this great talent.
Simpatico setting. This set: four LPsltlll'ee CDs, with seven
Now hear' that sound in a vel'y different performances issued hel'e fi"st and several
seltinf!;' Quietet'. Less about contl'asts, others previously hal'd to find, The Pal'is
more about simpatico. Intl'Oducing The date is issued foe the fit"st timt' with COITt'ct
Completc Recordings of the Panl Desmond titles and impl'oved sound. The booklet
Qlwrtet with .lim Hall. includes an essay by Brian Priestley (who
The Complete Recordings of the Paul
Hen>, Desmond's lyrical phl'ascs join Desmond Quartet with Jim Hall was present at the Black Lion date), the
Limited to 7500 copies worldwide. fil'st biography of Monk's last yeal's,
with the swinging pel'fection of Jim Hall,
6 LPs [MR6-120] $60 Monk's last Down Beat intel'view, and rart'
the quit't authol'ity of Modem Jazz Quartet
4 COs [M04-120] $60 photogt·aphs.
dnlmmcl' Connie Kay, and eithel' Pel'cy
Heath, Gene Wright, 01,' Gene Cherico on
bass to create masterful sides, The quat·tet
sounds like they played togetht'l' for yeal's,
though they neve,' played a single live gig. •••••••••••••••••••••••••••••
This is Desmond as lead"r and musical
organizer, whose wit and warmth come
From the end of his
singing through his song ehoiees, his career, Monk's Black Lion
arrangements, and his compositions. masterworks - including
A great six-year studio matchup. a rare glimpse inside
The sessions arc gathen>d chrono1ogieally
into one six-LP/four-CD set, Iwginning with
the nlind of the man.
a 1959 Warllf~I' Bros, album and continu-
iug into 1965 with four morc RCA albums. he yeal's of staying tnle to hiscalling
Included are a rare title that only appeal'ed
on a Playboy Records anthology and 12
previously unissued pel'fonnances from the
T weren't kind to Thelonious Monic By
the late '60s, he was through with CBS
(they wanted an album of Beatles tunes) and
RCA years, perfonned mostly with a contl'ived group
The booklet contains a new essay fl'orn called The Giants of Jazz. It was finan- The Complete Black Lion and Vogue
Desmond's close friend, joumalist Doug ciaUy, but not artistically, rewarding. Recordings of Thelonious Monk
Limited to 7500 copies worldwide,
Ramsey, as well as reprints of some of
Magnificent solos and trios. 4 LPs [MR4-112] $40
Desmond's famed dry prose: "I have won The one high point came during a eerord- 3 COs [M03-112] $45
several prizes as the world's slowest alto
ing session Monk made in London for
player, as well as a speciaL award in 1961, Black Lion on November 15, 1971. Many
for quietness." listeners l'egard them, his finaL l'ecol'dings I

MOSAIC RECORDS ~
I
S TIL L A v A I LAB L E

• • • • • • • • • • • • • • 4.44• • • • • • • • • • • (On sides one and two the cymbals are over- "This is simply a joy, definitive modcrn
"Phantom album" recol'ded, ereating a certain amount of clarinet pail'ing and ample exposure for
distol'Lion Lhat cannot be repaired.) MI'. Clark, one of the finest modern
mystery solved! pianists, "
"lnc1ude(s) his rare True Blue, one of Lhe Robert Palmer, The New York Times
gl'catest albums Blue Note ever released."

H
ere is one that stumped coUeetors for
yeal's. Catalogues listed it - inner Jim MilIcI', Newsweek
sleeve displays pictLII'ed its cover. Yet
no one had ever seen ai' heard the album.
The artist was Harold Floyd "Tina"
Brooks, a fiery tenol' player who appeal"ed •••••••••••••••••••••••••••••
fl-equcntly as a Blue Note sideman, writer, Why is the world ignoring
and an'angeL Buddy DeFranco?
The missing album? Something ealJed
Back to the Tracks - I"econled, designed,
ame three bebop e1arinetists.
sequenced, catalogued, forgotten,

His prayerfUl style.


No one knows why, except those were husy
N Evel'ybody knows the saxophone
players, trumpeters, pianists, and
drummers. But sinee IJebop clarinet is so
yean; at Blue Note. Finally he's getting his rar'e, DeFnlnco just gets lost completely,
due, this gentle, neglected man whose DeF'"anr'o was a virtuoso on the instru-
pl'ayerful style cleaved fil'mly to the blues ment. A classicist until he discovered
and gospel. Back to the Tracks is just one Goodman, DflFraneo fell into the "new
of two unissued albums, plus two mon~ I"are thing" on the road, when he and othcl" ven- The Complete Verve Recordings of the
discs, compiled as The Complete Blue Note turesome swing musieians would transpose Buddy DeFranco Quartet/Quintet with
Recordings of the Tina Brooks Quilltets. Parker's solos down in the basement. Sonny Clark
Pel'sonal solos, distinctive horn voicings, Limited to 7500 copies worldwide.
dear, melodic compositions - Tina did it He pushed the clarinet's limits. 5 LPs [MR5-117] $50
aU. This mystery ends in a discovery more DeFranco was constantly expedmenting, 4 COs [Mo4-117] $60
rewarding than ever imagined, pushing the lilnits of the instl"llment. He
The four albums, recorded fl'om 1958 to played George Russell's music, in Basie's
1961 . featu,'e Art Blakey, Lee Morgan, septet, in his own iJI-fated big band, then he
went on the wad with a quartet. Sonny ••••••••••••• 4.44 ••••••••••••
Sonny Clad" F,'eddie Hubbard, Blue
Mitchell, Wilbur' War'e, Paul Cbambel's, Cla,"k was the pianist (after Kenny Drew), When jazz turned
and Jackie McLean, Plus, there's a booklet It was one of the most tight-knit, fun-loving,
with a newly I'esearched biography by vel'sati.le organizations around, with Gene commercial, Mingus
Michael Cuseuna, analysis by Robel't WI'ight on bass and Bobby Whitc on dl"llms. turned rebel. The fire of
Palmel', complete discography, and many Here are all the originally scattered and, the times - in these rare
unpublished photographs, induding a shot untiJ now, long-out-of-print l"ecOl'dings uf
of the unused Back to the Tracks cover. The Complet.e Verve Reeol'dings Of the BlIddy Candid recordings.
DeFranco Quartet/Quintet wit.h Sonn.y
Clark (the fifth was the occasional coLlabo- et's tum back the clock to 1960, The
I'atol', Tal Farlow). Recol'ded in 1954 and
1955, these selections show Buddy's
remarkable faeility and mastery of harmony.
L times we,'e turbulent, and so was the
music. Mingus' core personnel (EI"ic
Dolphy, Ted Curson, and Dannie
Complete and chronological. Hichmond) were capable of anything, and
A five-LP/four-CD set, complete and in given Charles' inner demons, they needed
chl"Onologi(~aJ selJ.uence, it includes a hooklet
spidt and stl'ength to go exploring with him.
with a new essay by Ira Giller, the original In t.he spring, when Mingus and othe"s
vintage liner notes from the sessions, a new were disappointed with the financial
interview with DeFraneo, and rare pho- arrangements at the Newport Jazz Festival,
tographs. Mingus hatched a plan. The Newport Rebel
We've got a special affeetion for this Fest.ival.
music. If you don't know about Buddy Critics and musicians hailed it. StiU
DeFranco, pick up this set. boiling, Mingus hit the studio, The
Complete Candid Recordings of Charles
"The preferred clarinetist of Art Tatum, Mingus was the result.
The Complete Blue Note Recordings of Count Basie, Lester Young, and countless
Results left musicians elated.
the Tina Brooks Quartet. other jazz musicians, DeFranco was to the
Mingus and his collaborators were elated.
Limited to 7500 copies worldwide. clarinet what Powell was to the piano,"
"I made it!" Richmond yelled after one
4 LPs [MR4-106] $40 Leonard Feather, The L. A. Times
take. "1 finalJy got to play it like I've been
Not available on CO.

CALL AND ORDER BY PHONE: 203/327-711110AM-5PM (EST) MONDAy-FRIDAY


30
OR FAX: 203/323-3526 VISA &. MASTERCARD ONLY, PLEASE.
heal'ing it." And Dolphy said, "We never
got it togethel' like this in the club."
•••••••••••••••••••••••••••••
Thl'ee sessions in all were recorded. The
How could SO much
fil'SI 'Hlded Lonnie HiUyel', Charles explosive energy stay
McPhel'~on, Ni(:o Bunick, Jimmy Knepper, bottled up for so long?
and B"itt Woo.lman. One month later,
CUI'son and Dolphy returned for thn~e cuts Cecil Taylor and Buell
on a date featuring Hillyer, McPherson, Neidlinger on Candid.
Booker' £.-vin, and Paul B1ey. AJso that
day, a I'emarkable jam was ~ssembled­
You haven't heard the
Mingus with Richmond and EI'ic Dolphy, half of it.
plus Jimmy Kneppel', Jo Jones, Tommy
Flanagan, and Roy Eldridge!

C
edi Taylor may he, in all tbe turbu-
Roy told the bass player, "A lot of the lent history of jazz, the one
young ones fOI'get the basics. They don't individual who has thrown down the
get all the way down into the music. You most (:hallf,nges-I'or PI'ities, for listeners,
did, baby." and 1'01' fellow musicians, The Complete Candid Recordings of
FOlll' LPsltfll'ee CDs include the two
While many in music al'e content to estab- Cecil Taylor and Buell Neidlinger
Mingus Candid albums, seven titles issued
lish a style 1'01' themselves, gain some Limited to 7500 copies worldwide.
only on anthologies, and five maste"pieces 6 LPs [MR6-127] $60
notol"iety, and stick with the shtick, Cecil's
issued fil'st in this set. The booklet includes 4 CDs [MD4-127] $60
cal'eel' has been a constant, uncompromis-
essays, Nat Hentofrs oribrinal tinel' notes,
ing Journey.
and newly discover'ed photogr'aphs.
But there were only hints of where hi~
musical exploration would take him when expanded ensemble th<lt incluclps Billy
#1 (tien) Reissue of the Year
he, Neidlinger, Dennis Chades, and Archie Higgins, Clark Ten-y, RosweU Rudd,
(1986 Down Beat Intemational Critics PoU)
Shepp entered the studio in October 1960 Charles Davis, and Steve Lacy.
"This may be the most valuable item in and January 1961 to make the l"ecol'dings
Historic highlights.
Mosaic's sel'ies to date." that woukl clearly statp his impo,'tance to
the world. Listen fOI- the recording debut of Sonny
Leonal·d Feather', The L.A. Times MUlTay on the previously unissued Taylo"
In the tradition. composition "Numbel' One," And in a
Some listeners al'e r-eminded of EUington, se"ies of ftve takes Oil Ceeil's mastfTl'ul
TIlE COMPLETE
CUD•• RECOIDIKS Of Monk, and Mingus by the harmonies Cecil "Ai,'," heal' how the quartet (with An·},i ...
CHAlliS .. Ileus
was investigating, whieh suggests he had Shepp also making his rlebllt) work thl'ir
alt'eady aligned himself with the most way into the composition 0111" pxperinlPnlal
adventurous musicians in the jazz tradi- step at a time - aU the way thl'ollgh the
tion. But the "hythms wc"e his own brew. master take - and thp.n one tak... Iwyond!
Hints of stride showed up in Cccil's two- The booklet illclucles musical n.,minis-
handed playing style, and Iw had already cencI's by Nat Hl'ntof[ (pmduccr' of Ihe
developed an cal' 1'01' the heavy percussion o,'iginal sessions) plus a musical anaJysis
of Afl'ican lIlusic. CI"ady, he was on his and pel'sonal rec{)Uections by Nt'idlingel'.
way to inventing himsf,lf. AdditionaUy, ther-e's a complete Taylor!
Fl'om a tot<ll of fOUl' days of intensive Neidlinger discography and ran', unpuh-
playing, Candicl r-eleased exact.ly one album Jished photographs.
- The lVorldQjCecil Taylor. Ten yeal'S latel',
in 1971, CBS/Sony in Japan released an aU- "Evel'y note on the [ouI,-CD sP.t The
new album from the second sessions, which Compkte Candid Recordings ojCecil
The Complete Candid Recordings of Taylor and BueU Neidlinger aUfsls to the
were actually led by Neidlinger. Latel' that
Charles Mingus
same yea I', Bamaby in the .5. I'eleased yet IIncompmrnised hriUiance of pianist/com-
Limited to 7500 copies worldwide.
4 LPs [MR4-111] $40 another, all different Cecil Taylor album. poser Taylor,"
3 CDs [MD3-111] $45 RusseU Woessner, Philadelphia Cit} Poper
Three down, three to go,
As obscure and hal'd to find as those three "Thne is alI-eady no doubt what 1989's
albums al'e, a like amount of music from those best reissue witi be."
" ... you pl'obably have the ol'iginal
sessions went totally unissued ... until now. Jules Epstein, Philadelphia Tribnne
albums released on Candid, or the Barnaby
This Mosaic set contains everything o[
reissues, but don'tlet that deter you from
looking into tlus 4~LP/3-CD set on Mosaic. , , merit from the Candid sessions, including
supel"b sound and annotation and five th"ee LPs' worth of tmissued titles and worthy
previously unreleased tl'acks." alternate takes. In addition to the quartet
Chris AJbe"tson, Stereo Review recol-dings, there an~ several tr'acks with an

MOSAIC RECORDS 31
S TIL L A v A I LAB L E

••••••••••••••••••••••••••••• rhythmie density; it is idiosyncratic and


The first Bud Powell I'IIfCClMPIRI
IUD PC\!IIU
IWllon
brimrning with eharactel',

collection that isn't IltOltllGl


(1949,1958) Nearly double the amount of Herbie's
work on record.
screwed up. With pride and elation, Mosaic presents The
Complete Blue Note Recordings of Herbie
e'd be willing to bet a high per- Ni<:hols, 30 tlmes and 18 alternates o,'iginaUy

W centage of the people reading this


brochure own at least some Blue
Note Bud Powell What has always puzzled
t'eeonled in 1955 and 19.56 that amount to
five LPs or three CDs - nearly doubling the
amount of Herbie Nichols' work on rl'cOt"d,
us is the strange way the music has been The inn'edible t!'io performances feature
released throu~hout the years. bassists AJ MeKibbon and Teddy Kotick,
Take Bud's very fil'st session for the and drummers Art Blakey and Max Roaeh.
label. Up until now, the 11 tracks recorded We feel this joyous music is some of the
that incredible afternoon of innovation and most important ever made,
The Complete Bud Powell Blue Note
inspiration have been available only on The booklet includes an intimate pet"-
Recordings (1949-1958)
four different albums - never all together Limited to 7500 copies worldwide. sonal portt'ait and musical analysis by
and in recorded sequence. 5 LPs [MR5-ll6] $50 Roswell Rudd, AJso included at'e sevl'l'al
Not available on CD. unpublished Niehols poems, as well as
His most spectacular recordings. reprints of his writings on music, a complete
So here at Mosaic, we've done the only discography of his work as sideman and
right thing. At last, it's possible to heal' leadel', a wealth of previously unpublished
Bud's work complete, whole, and fOJ'ever ••••••••••••••••••••••••••••• photographs by FI"aneis WoUf, and testa-
on The Complete Bud PoweU Blue Note
"It seems like you either ments from artists who knew him, including
Recordings (1949-1958), By universal At'chie Shepp, Max Roach, and Sheila
assent, the Blue Notes are the most consis- have to be an Uncle Tom Jordan,
tent and spectacular recordings by this or a drug addict to make
chief architect of bebop piano, #1 Reissue of the Year"
it in jazz, and I'm not (1988 Down Beat International Critics Poll)
Ferocious, intl'icate, dignified, surpris-
ingly joyful. This set eorreets the sequence either one." "A masterfully assemhled reminder of a
of Bud's first set for the label and adds all regrettably ignored artist. It rates an
of his 1953 date - 10 definitive perfor- unqualified five stat·s."

~
e scene aceording to Herbie Nichols,
mances - for the first time on one LP, in who was largely if,'llOred by his peel's, Leonanl Feathet', The L.A, Times
proper order, Included as well are a few the record companies, and the dubs,
relevant alternate takes never before avail- If fame eluded him, inspiration didn't;
ahle with the original masters, pianist and eomposel' Hel'bie Nichols wl'ote
Sidemen include Fats Navarn>, Sonny OVe!" 100 ()["iginal and eomplex jazz compo-

Hollins, Roy Haynes, Max Roaeh, Art sitions (mixed in with poetry, operas,
Taylor, Philly Joe Jones, GeOl'ge Duviviel', theatel' pie!~l's, prose, and dassical music).
Sam Jones, and Paul Chambers. Five LPs,
Imagine Teddy Wilson mingled with
plus a booklet, with a rare reminiscence by
Monk.
Alfnxl Lion, analysis by Mal·k Gar"dner,
To paraphrase A. B, Spdhnan in Four Lives
and F't"ancis Wolff's unpublished pho-
in the Bebop Business, Herbie Nichols'
tographs of the actual sessions. HUJTy. As
piano playing has both Teddy Wilson's ele-
with all Mosaic sets, when this sells out, we
gant clal';ty and a complex melodie/rhythmic
won't press any more,
stnll:turl' as unique as Man k 's.
Sa,Uy, this imml'nse, ol"iginaltalent has a
"The set is imperative and the results -
name few people recognize; he spent a lot of
indispensable. "
his life playing in Dixieland bands. Herbie
Boh Blumenthal, Boston Phoenix
Nichols only l'I'r'OI'ded a few tunes for Savoy,
two lO-ineh LPs and one] 2-ineh LP fOl' The Complete Blue Note Recordings of
"It's good to have this impn~ssive body of
Blue Note, and a final alJlUm for Bethlehem Herbie Nichols
music in one definitive edition."
before he died of leu kemia in ] 963 a t the age Limited to 7500 copies worldwide.
Francis Davis, Phiu1delphia inquirer 5 LPs [MR5-ll8] $45
of '~3. Herbie Nichols' revolutionary music
is filled with swinging melodic lines and 3 CDs [MD3-1l8] $45

28 CALL AND ORDER BY PHONE: 203/327-711110AM-SPM (EST) MONDAY-fRIDAY


OR FAX: 203/323-3526 VISA & MASTERCARD ONLY, PLEASE.
"The paintedy detail of Nichols' composi- "J azz is I'al'ely as pl'eUy as this; and jazz this as a leader, as equal in quality and inspil'a-
tions and the percussive density of his pn>tty is pmeticaUy nevel' so fuJl of sullstanee." tion to his first sessions fOl' Blue Note,
chord c1ustlTs will startl<, anyone who Richanl Williams, The London Times Thes" pianistic tOllrs deforce put to the
hasn't heard him hefol'e. Easily the year's test, once and for aU, the notion Monk sae-
most signifir',ant reissue," "It's a tleaming made in Iyeical heaven, I'ificed teehnique to sel'V(~ his style,
Francis Davis, Philadelphia Inquirer Entering this wo,'ld of hreathy beauty and AJl the solos and trios he ITeOl'ded on that
ready wit, you'll find it perfectly easy to one day, plus an entil'e nine-cut stndio date
sail through all six records and then start from Paris in 1954, appear togethel' for the
over again. And again," first time on The Complete Black Uon and
Lloyd Sachs, Chicago Slln Times Vogue Recordings ~fTheloniolls Il'lonk.

First cut worth the price.


••••••••••••••••••••••••••••• The very first cut he I'ecorded in that
"Dry martinis." London studio is wOI,th the pl'ice of the
whole set alone.
It was un unfamilial' studio and instru-

~
at's Paul Desmond's own descrip-
ment. Pianist and piano had to gt'l to know
tion of his celebl'ated sound: the sexy,
each othel', Monk, [.eing a compos"r, ('ould
subtle alto, cutting :hrough the
not calTY out even this task without expel'i-
countel' rhythms and affirmative chOl'ds of
menting with chords and melodies. What
the Dave 8mbeck Quartet. Tangible. he played in total p,-ivaey leads to unpn>ct"-
Minimal. Sophisticated. Slt'aight up. dented understanding of this great talent.
Simpatico setting. This set: four LPsltlll'ee CDs, with seven
Now hear' that sound in a vel'y different performances issued hel'e fi"st and several
seltinf!;' Quietet'. Less about contl'asts, others previously hal'd to find, The Pal'is
more about simpatico. Intl'Oducing The date is issued foe the fit"st timt' with COITt'ct
Completc Recordings of the Panl Desmond titles and impl'oved sound. The booklet
Qlwrtet with .lim Hall. includes an essay by Brian Priestley (who
The Complete Recordings of the Paul
Hen>, Desmond's lyrical phl'ascs join Desmond Quartet with Jim Hall was present at the Black Lion date), the
Limited to 7500 copies worldwide. fil'st biography of Monk's last yeal's,
with the swinging pel'fection of Jim Hall,
6 LPs [MR6-120] $60 Monk's last Down Beat intel'view, and rart'
the quit't authol'ity of Modem Jazz Quartet
4 COs [M04-120] $60 photogt·aphs.
dnlmmcl' Connie Kay, and eithel' Pel'cy
Heath, Gene Wright, 01,' Gene Cherico on
bass to create masterful sides, The quat·tet
sounds like they played togetht'l' for yeal's,
though they neve,' played a single live gig. •••••••••••••••••••••••••••••
This is Desmond as lead"r and musical
organizer, whose wit and warmth come
From the end of his
singing through his song ehoiees, his career, Monk's Black Lion
arrangements, and his compositions. masterworks - including
A great six-year studio matchup. a rare glimpse inside
The sessions arc gathen>d chrono1ogieally
into one six-LP/four-CD set, Iwginning with
the nlind of the man.
a 1959 Warllf~I' Bros, album and continu-
iug into 1965 with four morc RCA albums. he yeal's of staying tnle to hiscalling
Included are a rare title that only appeal'ed
on a Playboy Records anthology and 12
previously unissued pel'fonnances from the
T weren't kind to Thelonious Monic By
the late '60s, he was through with CBS
(they wanted an album of Beatles tunes) and
RCA years, perfonned mostly with a contl'ived group
The booklet contains a new essay fl'orn called The Giants of Jazz. It was finan- The Complete Black Lion and Vogue
Desmond's close friend, joumalist Doug ciaUy, but not artistically, rewarding. Recordings of Thelonious Monk
Limited to 7500 copies worldwide,
Ramsey, as well as reprints of some of
Magnificent solos and trios. 4 LPs [MR4-112] $40
Desmond's famed dry prose: "I have won The one high point came during a eerord- 3 COs [M03-112] $45
several prizes as the world's slowest alto
ing session Monk made in London for
player, as well as a speciaL award in 1961, Black Lion on November 15, 1971. Many
for quietness." listeners l'egard them, his finaL l'ecol'dings I

MOSAIC RECORDS ~
I
S TIL L A v A I LAB L E

• • • • • • • • • • • • • • 4.44• • • • • • • • • • • (On sides one and two the cymbals are over- "This is simply a joy, definitive modcrn
"Phantom album" recol'ded, ereating a certain amount of clarinet pail'ing and ample exposure for
distol'Lion Lhat cannot be repaired.) MI'. Clark, one of the finest modern
mystery solved! pianists, "
"lnc1ude(s) his rare True Blue, one of Lhe Robert Palmer, The New York Times
gl'catest albums Blue Note ever released."

H
ere is one that stumped coUeetors for
yeal's. Catalogues listed it - inner Jim MilIcI', Newsweek
sleeve displays pictLII'ed its cover. Yet
no one had ever seen ai' heard the album.
The artist was Harold Floyd "Tina"
Brooks, a fiery tenol' player who appeal"ed •••••••••••••••••••••••••••••
fl-equcntly as a Blue Note sideman, writer, Why is the world ignoring
and an'angeL Buddy DeFranco?
The missing album? Something ealJed
Back to the Tracks - I"econled, designed,
ame three bebop e1arinetists.
sequenced, catalogued, forgotten,

His prayerfUl style.


No one knows why, except those were husy
N Evel'ybody knows the saxophone
players, trumpeters, pianists, and
drummers. But sinee IJebop clarinet is so
yean; at Blue Note. Finally he's getting his rar'e, DeFnlnco just gets lost completely,
due, this gentle, neglected man whose DeF,"anr,o was a virtuoso on the instru-
pl'ayerful style cleaved fil'mly to the blues ment. A classicist until he discovered
and gospel. Back to the Tracks is just one Goodman, DflFraneo fell into the "new
of two unissued albums, plus two mon~ I"are thing" on the road, when he and othcl" ven- The Complete Verve Recordings of the
discs, compiled as The Complete Blue Note turesome swing musieians would transpose Buddy DeFranco Quartet/Quintet with
Recordings of the Tina Brooks Quilltets. Parker's solos down in the basement. Sonny Clark
Pel'sonal solos, distinctive horn voicings, Limited to 7500 copies worldwide.
dear, melodic compositions - Tina did it He pushed the clarinet's limits. 5 LPs [MR5-117] $50
aU. This mystery ends in a discovery more DeFranco was constantly expedmenting, 4 COs [Mo4-117] $60
rewarding than ever imagined, pushing the lilnits of the instl"llment. He
The four albums, recorded fl'om 1958 to played George Russell's music, in Basie's
1961 . featu,'e Art Blakey, Lee Morgan, septet, in his own iJI-fated big band, then he
went on the wad with a quartet. Sonny ••••••••••••• 4.44 ••••••••••••
Sonny Clad" F,'eddie Hubbard, Blue
Mitchell, Wilbur' War'e, Paul Cbambel's, Cla,"k was the pianist (after Kenny Drew), When jazz turned
and Jackie McLean, Plus, there's a booklet It was one of the most tight-knit, fun-loving,
with a newly I'esearched biography by vel'sati.le organizations around, with Gene commercial, Mingus
Michael Cuseuna, analysis by Robel't WI'ight on bass and Bobby Whitc on dl"llms. turned rebel. The fire of
Palmel', complete discography, and many Here are all the originally scattered and, the times - in these rare
unpublished photographs, induding a shot untiJ now, long-out-of-print l"ecOl'dings uf
of the unused Back to the Tracks cover. The Complet.e Verve Reeol'dings Of the BlIddy Candid recordings.
DeFranco Quartet/Quintet wit.h Sonn.y
Clark (the fifth was the occasional coLlabo- et's tum back the clock to 1960, The
I'atol', Tal Farlow). Recol'ded in 1954 and
1955, these selections show Buddy's
remarkable faeility and mastery of harmony.
L times we,'e turbulent, and so was the
music. Mingus' core personnel (EI"ic
Dolphy, Ted Curson, and Dannie
Complete and chronological. Hichmond) were capable of anything, and
A five-LP/four-CD set, complete and in given Charles' inner demons, they needed
chl"Onologi(~aJ selJ.uence, it includes a hooklet
spidt and stl'ength to go exploring with him.
with a new essay by Ira Giller, the original In t.he spring, when Mingus and othe,'s
vintage liner notes from the sessions, a new were disappointed with the financial
interview with DeFraneo, and rare pho- arrangements at the Newport Jazz Festival,
tographs. Mingus hatched a plan. The Newport Rebel
We've got a special affeetion for this Fest.ival.
music. If you don't know about Buddy Critics and musicians hailed it. StiU
DeFranco, pick up this set. boiling, Mingus hit the studio, The
Complete Candid Recordings of Charles
"The preferred clarinetist of Art Tatum, Mingus was the result.
The Complete Blue Note Recordings of Count Basie, Lester Young, and countless
Results left musicians elated.
the Tina Brooks Quartet. other jazz musicians, DeFranco was to the
Mingus and his collaborators were elated.
Limited to 7500 copies worldwide. clarinet what Powell was to the piano,"
"I made it!" Richmond yelled after one
4 LPs [MR4-106] $40 Leonard Feather, The L. A. Times
take. "1 finalJy got to play it like I've been
Not available on CO.

CALL AND ORDER BY PHONE: 203/327-711110AM-5PM (EST) MONDAy-FRIDAY


30
OR FAX: 203/323-3526 VISA &. MASTERCARD ONLY, PLEASE.
heal'ing it." And Dolphy said, "We never
got it togethel' like this in the club."
•••••••••••••••••••••••••••••
Thl'ee sessions in all were recorded. The
How could SO much
fil'SI 'Hlded Lonnie HiUyel', Charles explosive energy stay
McPhel'~on, Ni(:o Bunick, Jimmy Knepper, bottled up for so long?
and B"itt Woo.lman. One month later,
CUI'son and Dolphy returned for thn~e cuts Cecil Taylor and Buell
on a date featuring Hillyer, McPherson, Neidlinger on Candid.
Booker' £.-vin, and Paul B1ey. AJso that
day, a I'emarkable jam was ~ssembled­
You haven't heard the
Mingus with Richmond and EI'ic Dolphy, half of it.
plus Jimmy Kneppel', Jo Jones, Tommy
Flanagan, and Roy Eldridge!

C
edi Taylor may he, in all tbe turbu-
Roy told the bass player, "A lot of the lent history of jazz, the one
young ones fOI'get the basics. They don't individual who has thrown down the
get all the way down into the music. You most (:hallf,nges-I'or PI'ities, for listeners,
did, baby." and 1'01' fellow musicians, The Complete Candid Recordings of
FOlll' LPsltfll'ee CDs include the two
While many in music al'e content to estab- Cecil Taylor and Buell Neidlinger
Mingus Candid albums, seven titles issued
lish a style 1'01' themselves, gain some Limited to 7500 copies worldwide.
only on anthologies, and five maste"pieces 6 LPs [MR6-127] $60
notol"iety, and stick with the shtick, Cecil's
issued fil'st in this set. The booklet includes 4 CDs [MD4-127] $60
cal'eel' has been a constant, uncompromis-
essays, Nat Hentofrs oribrinal tinel' notes,
ing Journey.
and newly discover'ed photogr'aphs.
But there were only hints of where hi~
musical exploration would take him when expanded ensemble th<lt incluclps Billy
#1 (tien) Reissue of the Year
he, Neidlinger, Dennis Chades, and Archie Higgins, Clark Ten-y, RosweU Rudd,
(1986 Down Beat Intemational Critics PoU)
Shepp entered the studio in October 1960 Charles Davis, and Steve Lacy.
"This may be the most valuable item in and January 1961 to make the l"ecol'dings
Historic highlights.
Mosaic's sel'ies to date." that woukl clearly statp his impo,'tance to
the world. Listen fOI- the recording debut of Sonny
Leonal·d Feather', The L.A. Times MUlTay on the previously unissued Taylo"
In the tradition. composition "Numbel' One," And in a
Some listeners al'e r-eminded of EUington, se"ies of ftve takes Oil Ceeil's mastfTl'ul
TIlE COMPLETE
CUD•• RECOIDIKS Of Monk, and Mingus by the harmonies Cecil "Ai,'," heal' how the quartet (with An·},i ...
CHAlliS .. Ileus
was investigating, whieh suggests he had Shepp also making his rlebllt) work thl'ir
alt'eady aligned himself with the most way into the composition 0111" pxperinlPnlal
adventurous musicians in the jazz tradi- step at a time - aU the way thl'ollgh the
tion. But the "hythms wc"e his own brew. master take - and thp.n one tak... Iwyond!
Hints of stride showed up in Cccil's two- The booklet illclucles musical n.,minis-
handed playing style, and Iw had already cencI's by Nat Hl'ntof[ (pmduccr' of Ihe
developed an cal' 1'01' the heavy percussion o,'iginal sessions) plus a musical anaJysis
of Afl'ican lIlusic. CI"ady, he was on his and pel'sonal rec{)Uections by Nt'idlingel'.
way to inventing himsf,lf. AdditionaUy, ther-e's a complete Taylor!
Fl'om a tot<ll of fOUl' days of intensive Neidlinger discography and ran', unpuh-
playing, Candicl r-eleased exact.ly one album Jished photographs.
- The lVorldQjCecil Taylor. Ten yeal'S latel',
in 1971, CBS/Sony in Japan released an aU- "Evel'y note on the [ouI,-CD sP.t The
new album from the second sessions, which Compkte Candid Recordings ojCecil
The Complete Candid Recordings of Taylor and BueU Neidlinger aUfsls to the
were actually led by Neidlinger. Latel' that
Charles Mingus
same yea I', Bamaby in the .5. I'eleased yet IIncompmrnised hriUiance of pianist/com-
Limited to 7500 copies worldwide.
4 LPs [MR4-111] $40 another, all different Cecil Taylor album. poser Taylor,"
3 CDs [MD3-111] $45 RusseU Woessner, Philadelphia Cit} Poper
Three down, three to go,
As obscure and hal'd to find as those three "Thne is alI-eady no doubt what 1989's
albums al'e, a like amount of music from those best reissue witi be."
" ... you pl'obably have the ol'iginal
sessions went totally unissued ... until now. Jules Epstein, Philadelphia Tribnne
albums released on Candid, or the Barnaby
This Mosaic set contains everything o[
reissues, but don'tlet that deter you from
looking into tlus 4~LP/3-CD set on Mosaic. , , merit from the Candid sessions, including
supel"b sound and annotation and five th"ee LPs' worth of tmissued titles and worthy
previously unreleased tl'acks." alternate takes. In addition to the quartet
Chris AJbe"tson, Stereo Review recol-dings, there an~ several tr'acks with an

MOSAIC RECORDS 31
M 0 S A IcE D I T ION S

••••••••••••••••••••••••••••• pmcess, previously employed by Mr. Kelton and Bohby Timmons (Sce page 5.) As Frank

Exhibit Your Passion while working with sueh photogTaphers as WoUf's lens peered through the drmnset,
Ansel Adams, involves a costly ch"mieal Blakey's inrertious joy of playing was neve"
washing process to neutralize all acids, and more evident. Ct'opped and tiuted, this
ow, for the first time, you can see, own photogJ'aph became the cover 1'01' The Big

N
selenium loning to rnhance Ihe photogJ'aph's
and display jazz history in the form of natural tones. Each muscum-worthy, eustom- Beat. Francis Wolff's photograph, nntinted,
limited-edition, museum-quality pro('essrd photographic print is numbe,'pd. joyfully embodies the essence of Art Blak.,y
Francis WoUT photographs. Seeing these images reproduced in this and the spirit of his musie.
Several years ago while we were consulting catalog is no substitute for seeing., and living Edition Limited to :3000 numbe,'ed posters
with Alf"ed Lion ahout Mosaic's impending with, the real thing. Therefore every Mosaic and 50 numbered and authentieall'd custO!ll-
Bud Powell and Herhie Niehols reissues, Lion postr.' and print is sold with an ulll'esh'icted processed photog"aphic prints woddwide.
happpnpd to mention that hp had heen given hy money back gual·antee. Poster price: :5;40
IUs partner, Francis Wolff, thousands of Print p"iee: $500 (only a few left)
WoU"fs never-hefon'-publishe.l photographs of
CAPTURING A COLOSSUS
jazz artists, and would we be inll'rested in
In 1957 Sonny Rollins was busy winding down
some new shots of Powell and Nichols for OUI'
his stint with Max Roach, playing in the Miles
rpleases'! You ,'an imai-9ne what our answpr was.
Davis group, forming his first band as a leader
From that 1l10Illent on we hf~gan U1COll)ol'ating
and recording the four Blue Note albums that
ran' Franc-is Wolff photographs into evel'y Mosaic
would furthpr establish his t'cputation on the
spt of Blue Note material. We enjoyed them
Icnor saxophone. At thp Apt'il 14. ] 957 session
almost as much as finding long-forgotten tracks
for Sonny Rollins Vol. 2, F"ancis Wolff was
in the Bille Note vaults. And we weren't alolle.
somcwhat busy himsplf. Like all Blue Not"
Our custom"l's deeply apl,,'eeiall'd them, too.
sessions of that ("I'a, it look place amongst till'
When Alfred Lion passed away in 1987, his
lamps. microphones, wnctian bLinds '111([ patch
wiJc entrustcd the entire collection to us, Aftel'
cords at Rudy Van Gclder's, wherc Rollins lcd
/Ilw'h thought as to how best to bonor the memory
Thelonious Monk, J. J. Jolmson, Horace Silvpr,
and the art of Francis Wolff, we decided to
Paul Chambers and Al,t Blak.. y into jazz hjslew)'.
"egin offering his most visually powedul and
The p,msive cover shol of Sonny Rollins is
historic.ally important photogTaphs to jazz
un<{uestionahly one of Wolff's mastel'pie.·cs.
coUectorslike ourselves, in high-quality limited
Edition limited to 3000 numlwrcJ posters
.,ditions of pl'ints and postcrs.
and 50 numlwrcd and authenticated custom-
Th,' same care and passion that we put into
Ill'ocpssed photographic prints woddwidc.
our "ccordings has gone into the production of
Postn pri<'P: ;840
IhcS(' photographi.· prints and posters.
Pl'int pricc: %00 (only a few left)
When Francis Wolff captured Art Blakey's
THE POSTER
mood in this 1960 photograph, Blakey was in BLUE NOTE COLTRANE
The paper used for oUl'photograph "eproduction the midstof a session that would become a Shortly 1wfor.. Coltrane signed with P"estige,
pOS«'I' is hcavyw(>ight, Grade #1 coa«>d, classic. That Whole period - with Lee Morgan,
Iw made an oral agl'eemt'nl with Alfre,l Lion to
an'hival ucid-fn'l> stock. Mosaic posters will not Wayne Shorter and Bobby Timmons - is
"c('ord one allHun for Bluc Not", with a modcsl
Yl'UOW 01' dt·'tt··rionlh-· llurillg you I" lif'etirne ... (H· considered one of the best editions on the Jazz
Messengers ever. See page 5 for a complete ou-tlw-spot advance. Tlw rpsnlt was Ilw
.'vcn your grandchildren's lifctinw. The poste,'
description of the boxed set. singulal' Blue Train for thc label. This
image is reproduced using a sIH'('ial scannf'd
bl'illiantly cOIH'piv..d and execuled aUlIlIll. along
(Iuotonc proccss using the colol's black and gl'ay.
with thc ..lassic Francis Wolff photograph uscd
Though IlIon" pxpensive than straight single-
for the cove,', is Ill<' only evid,'nc.' we have of
('0101' reprorlUf:tion, Ihis pnlCess allows rielwr
W'e at'(> pnHld 10 I", in a position 10 make what a Blue Note/Coltrane legacy might have
lights <:lntl shadings., ~i\,jng the photogruphj('.
this very special offe,'ing and we hope that it sounded amI looked ill",. The pholog,'aph. takcll
image more puneh. Ead1 poster in our Iimilf'd
will be the first of St'vpral. Sqtl{o'mbf'l" 15., ] 957 ~ wa~ l"f·Yt'Tf"ly (Topperl for
edition of 3000 is individually numhel'ed.
th .. aUHlm cover and has 'WH'" been shown in
THE JOY OF BLAKEY
THE PRINT its glo,'ious pntin'ty untiJ this offe,·ing.
On March Ii .. 191i0, Art Blakey's recording
For connoisscu,'s of rine photographie art we Edition limit..d to :3000 numlwn'd posters
carcer was riding high. Afll',' some 20 albums
are also offering an extrem..Jy Limited edition of and 50 1ll1l11lwr"d and authenlicated cuslom-
as a leadpr, he went into the studio with onc of
50 pholographie prints, each one individually J)I'ocessed photographie prints woddwide.
the g"eatest "ditions of thl' Jazz M"sseugcrs
processed to archival standards by mastel' Poster price: $40
evel', featuring Lpr MOI'gan. Waylw ShOl'tel'
printer Chuck Kelton. This time-ronsuming SORRY, PRINTS SOLD OUT

MOSAIC RECORDS 33
NOT ICE
- - S

••••••••••••••••••••••••••••• ••••••••••••••••••••••••••••• •••••••••••••••••••••••••••••


Going, going ... Gone for good. Out of Sometimes Mosaic
Many ofyou have asked us about the stahlS ofvari-
print. Sold out. limited edition sets are
ow; sets. To better help you plan your Mosaic even more limited then
Boogie Woogie Harlem Jazz Monk's
purcha.-"€S, we have compiIro thi~ list ofour collec-
Blue Notes Gerry Mulligan Clifford you may think.
tions which are either near the end of their edition or
Brown. They're aU gone for good.
for which our leases are about to expire with little
We don't make hits trying to go gold or
A few months back we sent a postcard with
possibility ofan extension. We cannot guarantee the platinum. We lease masters because we
the heading "Going ... Going ..." to
availability of these items beyond 199"2 ahhough believe in the artists and in the music. Our everyone on our mailing list.
some may last into the next year. It was to announce that two more early
leases are limited - and we live up to our
wOI·d. When they're sold out, they're gone Mosaic sets had sold out, and to provide
The Complete Pacific Jazz Small Group Reco~ advance warning that a dozen more were in
for good. Out of pr·int.
of Art Pepper [MR3-1OS] page 16 We're sorry when tl'ue fans miss out. imminent danger of joining them.
Since we can't always predict when certain Almost immediately after the postcard
'I1w ('..omplete Blue Note FOrlID; Rfn)r~ofThe mailed we received the folJowing letter,
Mosaic sets are nearing their sales linilt, we
Quebec and John Hardee [MR4/MD3-107] page 20 urge you to order the ones you really care
which brought home to us the realization
about. Befol'e all tills music history truly that a lot of our customers may not know
The CompleteEdmond HalIIJames P. John.."<.mf exactly how our policy of "limited editions"
slips into history.
Sidney De ParislVic Dickenson Blue Note Sessions works. If you are among the confused, or
[MRCJMDl..-I09] page 14 merely curious, please read on.

The Complete Blue Note Recor-dingi of Sidney Dear Mosaic


Beehet [MR&'MD4-11O] page II Please find enclosed my orderfor the Mingus,
Chet Baker live and Shorty Rogers sets. I
The Complete Candid Recording; ofOmrles had planned to buy them more slowly over
Mingus [MR4IMD3-111] page::lOI31 time, bltl your recent flyer announcing their
potential demise hurried me up a little.
The Complete Pacific Jazz live R~;()rding;of the Now a warning. Be car'eJul about how
Chet Baker Quartet with Russ Freeman often you do this. It is a valuflble service,
[MR4IMD3-113] page 15 but one with an immense potential for
Blue Note Monk Gerry Mulligan
Limited to 7500 copies Limited to 7500 copies abuse. 1 assume because you have built up
The Complete Blue Note Art Hodes Ses.~ons worldwide. worldwide. a valuable climate oj trust among your
[MR5IMI}t.-114] page 11 customers, that when you say the numbers
ojspecifu: sets are getting lower, you are
TIle Benny Motton/Jimmy Hamilton Bhle Note speaking the truth. It would be helpful if in
Swingtets [ME 1-115] P<!,,"C 19 your next regular flyer, you set out criteria
for a postcard like this, teUing us, ~f you
The Coml'lde Verve Recording:; of the Buddy have the data, just what number consti-
DeFlanco Quartet/Quintet with Sonny Clark tutes a low number ofsets. Likewise, Ifor
[MR5IMI}t.-117] page 30 one wouullike to know what you meant by
Ammons/Lewis Clifford Brown
"expiring leases". Does this mean that sets
The Pete J ohnsonlEarl Hines'I'eddy Buon Blue Limited to 7500 copies Limited to 7500 copies you have alread)' printed cannot be soUL
Note Sessions [MRl-119] pa",oe 12 worldwide. worldwide.
once a lease expires on them? If not, what is
the signifu:ance ofan expired lease? I had
'The Complete Recon:lings of the Paul funlOnd the impression that your lease of these
Quartet with JimH:aJl [MR6'MD4-l2O] page 29 materials extended to the sale oJthe entire
number ofsets (usually 7500) no nu:ttter how
The Complete Commodore Ja7Z Recol-dingi, long it took. If this impression was in
Volume I [MR23-123] page 9 error, 1 think you can trust your customers
(most ofwlwm are weU experienced collectors
The Complete Atlantic and EMl J UZl Recording:; of who understand many of the intricacies oj
Shotty Rogers [MB6'MD1.-125J page 16 Port of Harlem Jazzmen
"labelology") to explain how it works.
Limited to 7500 copies Don't get me wrong, Mosaic is the best
worldwide.
that ever was, perhaps the best that ever

34 CALL AND ORDER BY PHONE: 203/327-711110AM-5PM (EST) MONDAY-FRIDAY


OR FAX: 203/323-3526 VISA & MASTERCARD ONLY, PLEASE.
wiU be. 1 will continue to buy and treasure tion of our Benedetti set (which is not a lim- Nat Cole sets whieh have leases scheduled
Mosaic sets more than any others in my ited edition), Mosaic leases aU of its to expire during 1994.
collection. I guess that when I buy one of recordings from major record companies. We, too, consider our customer"s an inte-
your limited edition sets, I feel a little pos- These leases eventually expil·e. So, even gral part of our ol"ganjzation - stock
sessive, like a stock holder in the company! if we haven't I'eached our stated goal, when holders, if you wiIJ. MOI"e than any specific
Thanksfor some wonderful music. The the lease expires after five or even three years, sales goal or numbel" figure, our main
Basie live set, by the way. is a pure gas. the set must be discontinued. In our" begin- imperative is that evel'y Mosaic limited edi-
ning days we had no trouble getting long- tion set be available to evel'yone who cares,
Sincerel)' , term leases from the major I"ecord compa- for a reasonable amount of time.
Greg Monahan, La Grande, OR nies ... and renewing them, if need be,
when they expired. But that was befor'e CDs. And pay dividends for a lifetime.
We appreciate the trust that our customel's Today, jazz reissues are a big business.
place in us. Now with so many of our early Record companies al"e much more resll"ic-
sets about to become unavailable, we thought tive in what they will lease, and in the terms
we'd better explain why our editions al"e of theil" leases. For Mosaic to continue On the Back Cover:
limited ... and spell out what that means. releasing "names" like Basic and Nat King RESPECT. You see it in the way guitarist John
The image that you may have of a giant Cole, we must now accept shol"tel' tenn Collins looks at Vic Dickenson, a virtual one-
leases, often with no possibility of renewal. man tradition on trombone and the leader of
Mosaic warehouse, stocked with as many as
this session whic:h also features Joe Jones. At
7500 copies of each l\'losaic set, is not at aU What's more, now that Mosaic has made a
Mosaic, our love for the music - and respect
accurate. name for itself as a successful reissue label, for the musicians - is the reason we bring you
There is no way that we can affon.l or even the Tina Brooks' and Hel·bie Nichols' complete and chronological collections,
even wish to manufactuI"e, or store, the full of this world ... artists who have been unreleased cuts in many of our sets, and
run of each set that we release. As you can neglected throughout history ... come infonnative booklets. Photograph from June
25, 1952, by Francis Wolff.
see, Mosaic sets released ten years ago are under closer scrutiny by the major labels
just now beginning to reach the end of theil" the instant Mosaic asks about reissui.ng them! Below:
run. 7500 sets represents a biggel" up-front So, as you see, Mosaic's limited editions DEVOTION. It's why Dean Benedetti followed
manufacturing eost, and ongoing storage are often more Limited than we originally Bird from Los Angeles to New York, dutifully
cost, than we've ever been able to handle. planned. To prevent any disappointing sur- recording the saxophonist's solos. And at Mosaic,
devotion is what's behind our detennination to
And we also know there al"en't too many pl"ises, we will continue to keep Ollr
put this music into circulation for the first time,
people who would I"elish huying a set that eustomers informed ahout which sets are in ever. This extremely rare photograph from a gig
had been sitting on a shelf fOI" eight years. danger" of being discontinued or sold out. in 1945 (two years before the Benedetti rec0rd-
LPs and CDs are manufactured as we As a general nile of thumb, keep in mind ings) appears in the booklet accompanying the
need them. The only elements that we must that most sets prior to MR-126 will almost set. From left to right: Stan Levey, Leonard
Gaskin, Charlie Parker, Miles Davis and Dexter
produce in large quantities are our book- certainly he gone with.in the next two years.
Gordon (pianist 5ir Charles Thompson is hidden).
lets. In tltis case, small press runs are At this point, we can't even speculate on
Photograph courtesy of Fred Greenwell.
pJ"Ohihilively expensive. So, when ou,· t he availability of more cun"enl sets beyond
booklets run out befol"e an edition is com- their lease terms, like the Larry Young and
plete (sueh as when have to we discard a
few hundred for quality controll"easons),
we're out or luck. We can't go back to press
fOI" only a few hundred hooldets. For' this
reason, our limited editions occasionally
have to be dosed out befol'e we reaeh the
maximum numher we've set as our goal.
(As wt~'ve stateo fr'om the beginning,
Mosaic sets are Iim.itedto a specific numher'
of copies. However', r'est assured, in no case
no we evel' manufaelure mor'e than the
sta ted rigu 1'1'.)
There's also another r"eason why an edi-
tion sometimes has to be dosed out before
the end of thl' edition is reached. As you"re
probably aware, Mosaie does not own the
Blut" Note, PaeiJic J<lZZ, Atl<lntic, Columbia,
RCA, 01" any other' catalog. With the exeep-

MOSAIC RECORDS 35
:IS ~'1,.j rl)s~ Plan'
069H2
StClllLfon'J, rOlIl"lf''l'riC'1I(
(20:{) :{n·7111
fax: (20:1) :{2:j-:lS26

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Art Blakey, Master Jazz Piano Series