A Ls Basie's “Atomic se = = ent ets istry Ln : Cg b es La eine — Fg See Se -_< ‘Stan Kenton’s Capitol Recordings- . 9 The comelra Bill is Bree UU POU Cy TAS Dd The jazz photography of oso Complete catalogue ‘and ordering cy NFIRST THINGS FIRST I his month Mosaic is releasing a set that takes toe back to sorte ofthe greatest musical experiences of my ile Tn the lare 19508 1 was a music. student at the New England Conservatory in Boston, and cach year when the Basic band came to town a bunch of fellow students and 1 would walk over to the State Ballroom, squeeze up aginst the apron of the stage, and stand mesmerized in front ofthe band while roared! ‘As yo might guess, Mossi's release of ‘The Compleve Ronlette Live Recordings of Count Base and Fis Orchestra (1958-1962) has been a ‘wonderful experience for me Now, after several unforeseen delays (due to the sheer volume of unreleased material that Michael discovered along the vay) 'm happy to report that ready ala Tn als pleased to announce that the complete Roulette studio recordings by Basis “Atomic” band ib ot far behind watch for i from Monte inte ‘big (band) coincidence. ‘The Basie lve set came together, after two years of preparation, just as our Stan Kenton Set was ready for release. Strange, the way these things work. Yesterday, there were no big-band sets on Mosaic. Today, ewo-thieds of our new release is devoted to big bands! Stan Kenton: The Complete Capitol Recordings of the Holman and Russo Charts js long overdue compilation that restores to circulation Kenton’s greatest recordings from the 1950s and early 1960s. The sound, throughout, is the best these recordings have ever had ‘Another Masaic career decision, ‘Among the big bands of the ‘40s and ‘50s, Stan Kenton probably achieved the most ‘commercial success during his lifetime. As usual, we're balancing that package with another by an artist who has never received his due, in our opinion. He is the organist Larry Young, and few non-musicians are aware that he was the inventive genius on that instrument in the “60s, There have been other Mosaic causes célebres aver the years: Tina Brooks (4 LPs) and Herbie Nichols (5 LPs, 3 CDs), for example. The big difference with L: ‘Young is, this package contains a whopping 9 LPs (or 6 Cbs)! Why so much music? Because there is that much music, and Mosaic is the label whose re-releases aim to be definitive. Now, at last, an absolute giant whose Blue Note recordings redefined jazz ‘organ playing can be appreciated fully, with a set that puts his music into proper perspective. We're proud to make it available ‘Commatire ii — more unissued Derformances than ever! "The most massive reissue project in jazz history is finally complete. The just-released Commodore Volume III inclades more unreleased material than either Volume 1 or Volume IT. And a reminder: if you purchased both earlier volumes, you're entitled to a 20% discount on Volume IT, (Plus, save an ‘additional 20 by purchasing it now, before October, when our LP prices will, regrettably, have to be raised by $1 per disc.) Stil more Cos. Just as CDs gave the recording industry in general a boost, Mosaic CDs have won us many thousands of new customers. Our ability to undertake and follow through on Ambitious and expensive projects — such as cove rvore: cout att 18 wpe Jz Festal, Pogo: ber coun ean Digs Caen. 2 our outright purchase and leit a the Bean Benet GBmmodore series is partly the reso te bigger cestomer base that CDs have provided ws Though we have to plant to abandon the LP format, we are Continuing to expand our CD catalogue wherever possible ‘Ths rene, were stdg even mmore CD sets 10 our catalogue ithe Basie, the Kenton, the Larry Young, plus. four sddidonal CD conversions: The Complete Blue Note Forties Recordings of Tke Quebec and Jobn Hardee (MD3-107}, The Complete Edmond Hall/james P. Jobnson!Sidney De Pari/Vic Dickenson Blue Note Sesions [MD4-109}, The Complete Blue Note Recordings of Sidney Becher (Mb4-110}, and The Complete Art Hodes Blue Note Sessions [MD4-114], Twenty five Mosaic sete are now available on CD. For the complete lis see age 6. Moret come. "Though there seems to be no end to the tiches let tobe mined inthe Blue Note and Pacific Jazz vaults, we are nonetheless in constant negotiations with additonal label Snd copyright owners for resources tha wll Lllow us toexpand in several excing aes in the months and years ahead. Stay timed Chasis Chatie Lourie sets... often several of them... from Begianing to end. Typically, they wind wp with far ore material than they can ficon an Ibu. And, what they choose to uses aot necessarily inferior in any way to what gets included a ‘A-company selecting material for a live album tends vo favor new material asthe Backbone of the whole thing. Excellent performances of already avalable tunes may fot even be considered, And of the material that i considered, there might be two otthree outstanding performances of the same tune from different dates. t's a coin toss as to which one gets released, and which equally fine alternate takes are destined never to ee the light of day Digging for treasure. ‘When you're dealing with artists at one of. their peak periods, 5 was erue with the Basie band'during the Roulette years, a veritable treasure trove of valuable and exciting musie might be just sitting in the ean. In my first trip to the Roulette vaults, which are now in London, I hoped against hope that this would be the case. But sil I suspected that a lot of material probably didn’t survive, Faced with a seemingly endless row of tape boxes, my very first task was to seck out what I knew would be the crown jewel in Mosaic’s scheduled issue of The Complete Roulette Live Recordings of Count Basie And His Orchestra (1938-1962) — the famous 1961 Birdland sessions. What I found was only one, lone reel, containing already-released Birdland tracks, scoured the library, and there was simply ‘nothing else from that histori session, What adiference a day made. Te looked like there wouldn't be any significant Birdland outtakes when | flew hhome that Sunday. Then, on Monday, I gota phone call from Bob Koester of Delmark Records. In going through a carton of tapes recently purchased from a small west coast label, he had come across a whole batch of Roulette tapes tha, he figured, must have gotten acidentally put into the carton. Teas Basie at Birdland! Ts was only through this unbelievable, Jacky coincidence that was able to retrieve the Birdland tracks, but Basie's great Miami and Stockholm tracks were all right in the ‘aul. in greater number, and of greater {quality than I'd hoped for. Nine great albums you've never heard. Seven recording dates that originally produced three albums wound up yielding the equivalent of twelve albums. And there's really no dead weight in this collection. I's 3 wonderful find, and a major addition to the Basie discography, elfectively quadrupling his live output from the Roulette yeats. It also lets us hear some Basie songs from the 5s that his band played ne but never put con any album, such as Neal Heft’s “Ours Alone” and Frank Foster's "Discommotion.” Meanwhile, back inthe studio. ‘As this is being written I'm working on the Basie studio set, amazed, quite frankly, at the tremendous depth of what’s there. Basie released 20 original studio albums for Roulette in a variety of settings, and the Mosaic set, due in 1992, will have them all, along with untold unreleased gems G- ‘Michael Cuscuna PHOTOMATICNo EO Ww Twenty years after Count Basie was in his prime... he entered his second prime! Orchestra Te's not as if people had counted Basie out altogether. He always led an excellent band and he had remained a vital and popular musician. But his followers still Tooked back wistfully to the Kansas City days, when Basie was synonymous with big-band fire and swing and his musicians kept it going at all-night jam sessions after the dancers went home. By 1957, most of the familiar names from the era of Lester Young and Jo Jones had long since left, and the supremacy of the big bands in general had been eclipsed by smaller groups like the Modern Jazz. Quartet and the Miles Davis Quintet. ‘The conventional wisdom was that Basie had long since peaked. fnongeMomi ge. seized tobe ie Gone tet Teta nd nssek ty ce Gut in front, he had assembled some of the most exciting soloists ofthe day, ike Joe Newman, Thad Jones, Frank Wess, Billy Mitchell, Frank Foster, Al Grey and Henry Goker. “And at the core was'a humming shythm section led by Freddie Green, Sonny Payne, and Count himlf on piano. What really gave the new Basie bandits sapere wane verano chars modern, swinging, high-precision orches- trations supplied by a virtual who's-who of modern jaze arranging, including, Quincy Jones, Ernie Wilkins, Frank Foster, Thad Jones, Benny Carter and Neal Hef Live alt night. ‘On three occasions during this era, the Basie Orchestra was recorded live by producer Teddy Reig. The first was a legendary night at a disc jockey convention in Miami, on May 31, 1939, when the band began playing at 1 a.m. and didn’e finish unl well ater sunrise. With the help of guests like Harry “Sweets” Edison and Joe Williams, the band was wailing. Less than half ofthe results were inchided on the eight al and order shone: 203/327-7111 10am iE? Ey Ee as tune album released from fest, Barbecue and Dance eat Bland... and aroad. So years actin June 1961, during the final ewo days of two-week engagement at Birdland, the band was confident, Shy, and inspired” Brawny- voiced O.C- Smith was thervoclst om many of the tones, with gost appearances by Jon tlendricks and the intompurable Sarah Vaughan. Agu, « ‘wealth of materal was recorded, but only oe abn elesced Tate's lst ve sessions for Roulette took place at a cb in Stockholm during a relaxed oreday gig im August 1962. Lou Bellon, subbing for Sonny Payne on drums, gave the band # special kick, whle Irene Resd and GC, South handled the vocals and the guest Soloits were top brass players like Bemay cy and Ake Person” An unforgetable erformance of "Apri in Pari” helped make the Basie iv Sweden album perhaps the most immediately succsfalof Basie’ Roulewe cra. ‘Nine albums of unreleased, lve Basie Mosaic's 12-LP, 8-CD package, The Complete Roulette Live Recordings of Count Basie and His Orchestra (1938 1962) includes every one of the 25 live tracks released by Roulette on Basie’s three live LPs, plus an astonishing 08 previowsly unissued performances. In every case the Original playing order has been faithfully adhered to. The Miami and Birdland performances have been newly mixed from the original three-track tapes, and the ‘Swedish tracks have been transferred diretly from the original two-track masters, ‘The Complete Roulette Live Recordings of Count Basie sand His Orchestra (1958-1962) | | Limited to 7500 copies worlduvde. 12 LPs [MRI2-135] $120 8 CDs [MDB-135] $120 eet ore S E § The 24-page booklet includes 3 ponte ofthe band and» track-by-track mute Salyis by Chris Sheridan, author of Const Base BlosDacography. Rare photoyaphe from the era sound ott this ematbable booker and boxed se “The Mosaic catalog is small, but every item is a gem. Handsome detail-packed booklets come with every set and most important, the records are pressed on pure vinyl and transferred from the original or best available source recordings.” —Patrick Ercolano, Baltimore Evening Sun A Jazz organist more influenced by John Coltrane than Jimmy Smith? Until 1965 that was unheard of. I istening to the early Larry Young recordings on New Jazz and Prestige Records, you might never have guessed that he was somebody more special than “just another Jimmy Smith disciple.” But at a 1964 session for Grant Green's Talkin’ About album, featuring Larry Young on organ and Elvin Jones on drums, Alfred Lion heard it ight away. Are Lion knew. ‘What Lion heard was an emerging John Coltrane influence. And he was right on target. At that time, Larry Young was regularly hanging around at Coltrane's house, playing and experimenting w Coltrane for hours on end. Ie was beginning to have an effect on Larry's playing— Lion liked that effect— and Larry Young was signed as a Blue Note artist. For the next twelve months Lion kept Larry Young busy recording his Blue Note solo debut album, Into Something, and Appearing as a sideman on two more Grant Green albums, Then, in November 1965, Larry Young’spost-Smith style exploded on Unity featuring Joe Henderson on tenor, Woody Shaw on trumpet and Elvin Jones on drums. It was the album that would change the sound and attitude of jazz organ for alltime, and inspire a string of follow-up albums that ‘would clinch Young's place in jazz history as the most influential jazz organist of his generation, and the next. The Complete Blue Note Recordings of Larry Young, 2 9-LP, 6-CD set, includes Larry Young's total output for Blue Note In addition to thrce albums as sideman with Grant Green, Young recorded six albums under his own name, featuring such “60s sgreats as James Spaulding, Herbert Morgan, Tyrone Washington, Lee Morgan, Eddie Gale, George Benson and Eddie Gladden. "The 20-page booklet includes a musical analysis by Robert Palmer, a biography by Michael Cuscuna, and many previously unpublished session photographs by Francis Wolff. The Complete Blue Note || Recordings of Lary Youn Limited to 00 cope worlwide. | | "Ses cans-137890 6CDs[MD6137] 90 * Michael Cuscuna: Jazz Producer of the Year * Blue Note & Mosaic Records: Ist and 2nd place, Label of the Year down beat magazine Stan Kenton waged a one- man war against one dimensional music. Here’s evidence that he won. I Ihe music he was making was heresy! His statements to the press, such as the integrated composition isthe thing, not the solo,” had the jazz establishment up in arms! Yet today, there ean be no doubt that Stan Kenton's greatest crime was being ahead of his ti Before the concept of fusing jazz with classical with popular music came into, fashion, Stan Kenton’s diverse musical experiments were, for the most part misunderstood and underappreciated by the critical community. And, in the beginning, even by his own record label Back in 1943, when Capitol Records signed The Stan’Kenton Orchestra, they almost certainly had no idea what they were in for. Kenton's solid, competitive big-band sound didn't stray too far from the beaten path... at frst, But later, Kenton's ever-new experi in Progressive Jazz, his Innov Modem Music, his Contemporary Concepts, and his Adventures in Jazz built up a loyal following of spirited musical intellectual... and sold tons of records! ‘One ofa kind. Tn the later 1940s, throughout the 1950s, and into the carly 1960s, Stan Kenton appreciation clubs formed and flourished throughout the world. Each new Stan mnton release became a topic for discussion even at the peak of popularity, nobody else came along who did what Kenton did, or ‘who made records that anyone could mistake and analysis. Yet nton’s consid for the genuine article. Kenton had the world of experimental big-band jazz practically all to himself Pethaps that's why he wa! attract some of the day's great musicians, vocalists, composers and arrangers into his creative world, including saxophonists Bud Shank, Lee Konitz and Charlie Mariano; trumpeter Conte Cando; rombonist Frank Rosolino; drummers Mel Lewis and Stan Levey; and most significantly, writer/ arrangers ill Russo and Bill Holman, From 1959, when Russo joined Kenton, until 1963, when Holman ended his association, these two men were responsible for some of Kenton’s most swinging and adventuresome recordings. Their charts are invariably the highlights of Kenton’s most productive years, nd their recordings are the ‘ones that jazz fans have long been requesting cn PHONE 203-327-7111 ea caer KYA RLY that Mosaic organize, and restore to print. This 6-LP, 4-CD set contains all 72 works that Russo and Holman wrote and/or arranged for Kenton, including Russo's famous “23 Degrees West— North,” and Holman-arranged sta such ‘as “Stella By Starlight” and "Yesterdays. Most of this musi has been unavailable for many years, Some appeared on 10-inch Ls that were never reissued. Several recordings appeared only. briefly on Kenton's own Creative World record label ‘One performance is being released here for the itt time A'S6-page booklet, written by author will Friedwald, reminiscences written by Holman and Russo, and rare photographs round out this long overdue compilation. Stan Kenton: The Complete ‘Capitol Recordings of the Holman and Russo Chars, Limited to 7500 copies worldwide, 6 LPs [MR6-136) $60 | 4 CDs [MD4-136] $60 wM Oo Same Box. Same Booklet. Same Music. Mosaic CD Sets. collections by history's most important jazz artists, with the additional advantages of convenience and superior sound that only compact dises can offer. Our CD sets are produced with all the care and quality that ‘you've come to expect from Mosaic ‘Complete without compromise — ‘you sacrifice nothing. ‘Mosaic CD buyers get exactly the same ‘music a in our critically acclaimed, deluxe LP sets. With the exact same informative booklet (ota scaled-down CD pamphlet). Inthe same sturdy library box. With the same limited- edition eollectbilty. And, since there ae fewer ‘CDs than LPs ina given set, our CD sets come ata price that's very close to of, in some cases, cexacly the same a the LP equivalents. ‘Very limited editions. ‘Mosaic releases have always been limited ‘ditions. Currently, both LP sets and CD sets count equally toward the ukimate production run. We have not upped our quotas in any way to allow for the additional demand, caused by the CD release of a given set. Mosaic LP sets. Alive and well! Despite our move into CDs, Mosaic has no intention of iscontiniing LPs, Mose has no plans to release anything. on CD without tbo making avaiable on EP “This commitment sets apr from many record companies But he one tend we ate no longer able to bck sth ring cot we have had to absorb from several of our suppliers, inching primers and manfactrers For now, Mossi LP prices wil stay pu 2 $9 por LB, with the exception ofthe new Feleaes announced inthis brochure. They dre being introduced st $10 per LD. Avof Oczober fst, 1991, however, all Mosaic LP colecions wil be priced at $10 per LP. This will be our firs price increase in five years. We hope thar our customers will under stand.» and that LP collectors will take Advantage ofthis one last chance to pic up Mosaic LPscts atthe old price. “As [was filling out the order last night, a couple of friends stopped in. One said, “Tt must be nice to have a hundred and seventy bucks to blow on CDs." I told her, ‘Well, first ofall, 'm not blowing it, and second — don't have it.” Marty Corcoran, West Chester, Pennsylvania S A IT € Cc The Complete List of ‘Mosaic Record Sets on CD. ‘You can find a complete description of each set on the page indicated in brackets ‘Seven New Mosaic CD Sets: ‘+ The Complete Roulette Live Recordings of Count Basie And His Orchestra (1958-1962) MD8-135 [page #] ‘+ Stan Kenton: The Complete Capitol Recordings of the Holman and Russo Charts MD4-136 [page 5] + The Complete Blue Note Recordings of Larry Young MD6-137 [pages #3] + The Complete Edmond Hall/JamesP. Johnson/Sidney De Paris/Vie Dickenson Blue Note Sessions MD$-109 (page 14] ‘+ The Complete Blue Note Art Hodes Sessions MD4-11¢ [page 18] + The Complete Blue Note Recordings of Sidney Bechet MD4-110 [page 15] * The Complete Blue Note Forties Recordings of Ike Quebec and John Hardee MD3-107 [page 25] ‘Stil Available on CO ‘+ The Complete Blue Note Recordings of Grant Green with Sonny Clark MD4-133 [page 17] ‘+ The Complete Blue Note Recordings of George Lewis MD3-132 [page 13] ‘+ The Complete Recordings of the Stan Getz Quintet with Jimmy Raney MD3-131 [page 11] ‘= The Complete Recordings of T-Bone Walker 1940-1954 MD6-130 [page 12] ‘= The Complete Dean Benedetti Recordings of Charlie Parker MD7-129 Ipages 12-13] + The Complete Candid Recordings of Cecil Taylor and Buell Neidlinger MD4127 (page 21] ‘= The Complete Atlantic and EMI Jazz Recordings of Shorty Rogers MD4-125 [page 19) ‘+ The Complete Blue Note Recordings of Freddie Redd MD2-124 [page 26] ‘= The Complete Pacific Jazz Studio Recordings of the Chet Baker Quartet with Russ Freeman MD3-122 Ipage 20] * The Complete Blue Note 45 Sessions of Tke Quebec MD2-121 [page 16] * The Complete Recordings of the Paul Desmond Quartet with Jim Hall MD4-120 (pages 28-29] ‘+ The Complete Blue Note Recordings of Herbie Nichols MD3-118 [pages 26-27] ‘+ The Complete Verve Recordings of the Buddy DeFranco Quartet/Quintet with Sonny Clark MD4~117 [page 29] ‘+ The Complete Pacific Jazz Live Recordings of the Chet Baker Quartet with Russ Freeman MD3-113 [page /8] + The Complete Black Lion and Vogue Recordings of Thelonious Monk MD3-112 [page 27] ‘+ The Complete Candid Recordings of Charles Mingus MD3-111 [pages 20-21] ‘+ The Complete Pacific Jazz and Cag Recordings of the Original Gerry Mulligan Quartet and Tentette with Chet Baker MD3-102 [page 20] (Less than 500 remaining) “che sound engineering of the 32 Mosaic discs I have heard suggests an audio miracle has taken place..." Wayne Thompson, ‘The OregonianCOMMODORE VOLUMES IF anda II Almost Sold Out. The Complete Commodore Jazz Recordings, Volume I. DW eres on rene ot Eee 7 Recordings received five stars in down beat, two Grammy nominations, and extravagant praise in everything from JazzTimes to National Reviews Spanning 1938-1943, Volume I features some of the most valued recordings by such artists as Lester Young, Billie Holiday, Chu Berry, Jelly ‘Not available on CD. Eee Roll Morton, Willie The Lion Smith, Coleman Hivwkins, Mel Powell ands host of others “Can the Mosaic folks top this act? Yes, but only with Volume I and IIL. They’re doing the job none of the conglomerates could or would touch, Alan Bargebubr, Cadence ‘The Complete Commodore Jazz Recordings, Volume I Limited 0 2500 copies worldwide, 23 LPs (MR23-123} $207 Less than 150 remaining as of April 199. Plesse note special sipping charges on order form. The Complete Commodore Jazz Recordings, Volume Il. ieee ee apes eet sinter Sg cae le nathan geri ierenaee tas coe seria ait cine ct e simi Rieasanart iierunsc es eee ee scree Ta cunies arses beco: ‘The Complete Commodore Jazz Recordings, Volume IT Limited 102500 copies worldwide. 23 LPs [MR23-128] $207 Less than 1000 remaining as of April 1991. Please note specal shipping charges on order form. Not available on CD. as much of it as he could get for his mmodore label. During the next 14 months Commodore Records would record and release as much great music as it had in its first five years, combined! * In Volume IT you'll get 340 recordings made during that historic time on 23 LPs. Included are dozens of "Commodore landmarks” featuring Billie Holiday, Lester Young, Ben Webster, Zoot Sims, Red McKenzie, Hot Lips Page, Bobby Hackett and Ed Hall with Teddy Wilson, all sounding better than you've ever heard them. Plus, there are surprises around every turn, with never-before-released alternate takes and newly discovered tracks by Albert Ammons, the DeParis Brothers, Jess S $ Poe kore Poni ee ce Sid Catlett, Jack Teagarden, Joe Bushkin, Pee ‘Wee Russell, Eddie Haywood, George Zack, and many others. #340 recordings on 23 LPs. # 48-page booklet contains Part Il of The Commodore Story by Milt Gabler, session by-session notes by Dan Morgenstern, rare photographs, and a thoroughly researched discography ‘* Edition limited to 2500 copies worldwide Soe down beat “Mosaic has once again compiled an historic and cultural document of monumental significance W. Royal Stokes, Jaze Times ‘One would have to thumb through the dictionary of circus hype for words like ‘stupendous’ and ‘colossal’ to find adjectives, adequate to describe the second volume of the complete Commodore recordings... say volume two is the equal of ‘volume one is very high praise indeed, and so is, Bob Hilbert Joslin’ Jazz Journal Volume IL... testifies tothe inventiveness of Russell, Spanier, Davison and the other Condonites, and siso contains brilliant work from Holiday, Page, Sid Catlett (with Ben Webster), Edmond Hall and Teddy Wilson... new ideas can be heard on nearly every alternate take Bob Blumenthal, Boston Globe “The Commodores are wonderful! Both, but especially number two is a kind of monument to the memory of Pee Wee Russell. How that man could play. But it isn’t too bad either to get new takes with James P., Jack Teagarden and Hot Lips Pagel! I can hardly wait for number three.” Nils-Gunnar Anderby, Stockholm, SwedenCOMMODORE VOLUME III ‘And now. The Complete Commodore Jazz Recordings, Volume Ill. ‘olume IIT in Mosaic Records’ unprecedented Limited Edition release of The Complete Commodore Jaze Recordings includes all the lst 786, all the 10 inch and 12-inch LPs, important addenda 0 both previous volumes, plus a wealth of previously unissued material by Bille Holiday, Bud Freeman, Jonah Jones, Ralph Sutton, Frank Wess, Mel Powell, Wild Bill Davison, Peck Kelley, Eddie Edwards’ Original Dixieland Jazz Band, and others You were there. The years were 1945 through 1957 and technology was on a rampage. America was going through postwar charges that would Sect tone forthe rest ofthe sentry "The advent of the tape recorder ia the late 6 opened up a Pandora's box filed with gimmicks, special effects, and easily atain Sle perfection. Recorded musie had fost its noeence and it would ever be the same Still, the Commodore label remained steadfast in its dedication to the muse, and fo the musicians, that typified the era it had helped to define. Erom the alletar Town Hall concert of june 9, 1943 through the legendary Peck Kelley private recordings of June 9 and 16, 1987, Commodore was tmaking history tothe end “Ive ad offers o produce. And I sid, ve got, to ax my tl ot agin, Then maybe Fi proche. Bot at my age, where am | going to Finda Bille Holiday or a Pee Wee Russel? T enjoy T hear the new guys blowing thes brains out and playing their hearts out. Occasionally you hear Something fabulous, butt does top whit we Mik Gabler Highlights of Volume includ * Newly discovered alternate takes by Bud Freeman and his Gang in 1938, and by Billie Holiday in 1944, # The real master takes on Chu Berry's Blowin’ Up a Breeze” and “Monday at Mincon’s.” * Commodore's 1945 Town Hall all-star extravaganza in the best sound ever, featuring Red Norvo and His Orchestra with Shorty Rogers, Flip Phillips, Eddie Bert, Teddy Wilson, Remo Palmieri, Slam Stewart and Specs Powell; Bill Coleman, featuring Billy Taylor on piano; Gene Krupa with Charlie Ventura; the Stuff Smith Tro, with Billy Taylor and Ted Sturgis; Teddy Wilson fronting members of the Red Norvo. ensemble; Don Byas and Slam Stewart. *# Serious jazz by Jonah Jones, with Tke Quebec, Tyree Glenn, Hilton Jefferson, Mile Flinton, and J.C. Heard. # Commodsre mainstay Wild Bill Davison = The Complete Commodore Jazz Recordings, Volume IIT Limited to 2500 copies worldwide. 20 LPs [MR20-134] $180 Please note special shipping charges on order form. Not available on CD. | in session with his Commodores; Geor Brunies; Eddie Edwards and his Original Dixieland Jazz Band; Sidney Bechet ‘Mel Powell's only big-band recordings. + Encores and more by Willie The Lion Smith Ralph Sutton interprets Bix. * The authentic New Orleans sound of Johnny Wiggs * Commodore's excursion into modern jaz with Frank Wess. + Peck Kelley recorded atlas. + 246 recordings on 20 LPs *# 48-page booklet contains Part III of The Commodore Story by Milt Gabler, session- by-session notes by Dan Morgenstern, and rare photographs. + Special 68-page beginning-to-end disc ography of Commodore j222- Published for the first time. a $25 value ‘Edition limited to 2500 copies worldwide Special Offer: If you purchased Commodore | and It send in your coupons and take 20% off on Commodior Peeper locas eeeDEAR CHARLIE AND MICHAEL. I Hhank you for writing us. We get lcs offers ant we read every One th fou're moved to write, we're eopecia Invested in Your comnts on he rusk in our sets: And we always welcome your Suggestions for future releases "cause we think what you have to say is important and should be shared with other jer lane, we muy decide to publish your letters in upcoming Mosaic brochures, So don't be surprised if sometime soon you see ‘lial bit or all of what you have to say in Print. Of course, if you don't want t0 be ‘quote, just et us know ‘We look forward to hearing from you. Charlie Lourie Michael Cuscana ‘The 20th brings good tuck Thave just ordered my 19th Mosaic release, Doesn't this entitle me toa free item? ‘Arrophy? A plaque? "You mean I have to be satisfied with listening to them? Okay, you drive a hard bargain. John B. Henry, Glen Echo, MD ‘ar tunes Tdon't know which of my jazz friends gave you my address, but I'm over the moon that they did! Liz McColl, Harbord, Australia Entrangais Bravo pour votre PaNTASTIQUE travail! Bernard Pichon, Osmoy, France (On the up-and-up One of the nic things you dois replace dxlecive records without 2 hs, so shat dont have to feel likes thiel for omplsining Thank you Allen Kab Flosoor, Heart and mind “Thank you for doing such a wonderful job of geting this beautifal music back to the people would be hard preacd pick avorte from among the sets T've bought Perhaps the Tke Quebec, because is tenor laying speaks divectly to my heart of the Frerbie Nichols, which dances in my mind Tike Bach. Anyway, each box is teasure and Tam very grat Wayne Kirton, North Vanconver, B.C. Radio beacon ‘At ast! Your new catalogue! Phew, sighs of relief, wiping sweat of brow, no more tranquilizer pills. I thought that you'd forgotten me, or worse stl, that you'd gone ‘broke (shudder! [As a jazz. presenter on our local radio station, 'm playing your records to death all that wonderful Bechet, Edmond Fall, Art Hodes stuff. And not to forget the incredible Commodore albums — what would do 10 without them? It’s 50 nice to be able to pull yet another alternate, previously “unpublished take out of the hat; the listeners ghsoluely love it Please stay in busines and kkeep on doing what you are doing. The jazz world is richer because you are there. Jaap J-de Hasan, Colo Vale, Australia Tiresome debate T would like to thank you for all your great work. My current order for 10 sets reflects how much T enjoyed the first eight I received, Ihave discovered artists and music that will make most of today's anemic practitioners fade into the obscurity they so Fichly deserve. would like to add a comment. Lam tired fof the vinyl-CD debate, CD is a convenient format, and is arguably superior on two measures: dynamic range and surface noise. The only problem is that listening to a properly cared-for LP played on a state-of- the-art turntable reveals the current sgeneration of CDs and players to be toys. ‘Acany rate, you do not have to engage in this debate, You offer a choice: that 1s all those of us who prefer the sound of music ask- Charles Huber, San Antonio, TX Jazz crusader Six years ago I didn’t know the difference between Dave Grusin and Duke Ellington, ‘What began as 4 specific curiosity about a single facet of jazz has become an all” consuming passion. ‘When I first listened to a few bootleg jazz tapes (thanks to the G.l."s here) T'was, floored, and immediately thought, "Where has this been all my life?!” My pilgrimage had begun. ‘As it turned out, there was music before the Beatles. But why had no one told me about it? I'm no longer a pilgrim, but a crusader, anda fairly lonely one sometimes. But what a joy to know that there are overs whe understand and oye the retest Imusic of this century, or perhaps any, an that they know where to turn’ for sustenance... Mosaic. Paul Wieht, Seoul, South Korea Credit where it's due Mosaic deserves the thanks of the jazz community for reissuing George Lewis's Blue Note recordings, which are among the finest achievements of the New Orleans revival. Ivis too bad that the quality of the announcement in your last catalogue does not match the quality of what 1s being described, The blurb gets off on the wrong foot in its very first paragraph, and gets even worse after that. Where, 0 begin with, did the idea that “jazz grew more and more sophisticated in the later 1930s and early 1940s" come from? The music the Count Basie band was playing in the late ‘305 wasn't more sophisticated than what the New York school around Red Nichols and Milf Mole were doing in the late "20s — melodically, harmonically, and with regard to instrumental technique. In fact, iiuch of the appeal of Kansas City jazz in general was in its immediacy and secessbility ‘As for the jazz audience growing “more and more sophisticated,” I don’t believe anyone really knows. What canbe said is that Bill Russell — who recorded the 1943 George Lewis session which Blue Note issued on the Climax label, and was as influential as any critic the New Orleans “die-hards” read — was a conservatory-trained composer, His famous articles on boogie woogie employed the same tools of musical analysis, including annotated examples, that Gunther Schuller and Max Harrison would use 30 and 40 years later. ‘As for your assertion that Bill Russell and Fred Ramsey "made a field wip early in 1943 in order to track down several of the legends of New Orleans jazz,” (i) they didn’t, and (i) such tips were being made several years earlier. What is true is that in the couirse of writing and editing Jazzmen they corresponded with Bunk Johnson as carly as 1938. The first actual records of legendary New Orleans musicians "who, hhad never been heard outside that town” were made in 1940 by Heywood Hale Broun, who recorded a band which included Jim Robinson on trombone and Big Eye Louis Nelson and Alphonse Picou con clarinets, Dave Stuart of the Jazzmen Record Shop in Los Angeles traveled 10 ‘New Orleans early in 1942 to record Bunk Johnson for his Jazzmen label, with a band that included George Lewis and Jim Robinson; later that year Gene Williams recorded Johnson for his Jaz7 Information label, again with George Lewis Jerome’. Shipman, Potomac, MD ‘Transported Thanks to the Commodore I and Blue Note Jazzmen albums, I can be transported back 45 years to Chicago and Eddie CCondon’s joint in New York. My old records have been pretty well retired for the excellent remastered discs you have produced. David O. Ward, Toledo, OF Quality throughout I's a mark of greatness the way you present this material and accompany each set with beautifully laid-out pamphlets. Even your brochure isan example of dedication to quality, You put most other record ‘companies to shame, Congratulations. Michael Geragoteles, Windham, CTSTILL AVAI The Stan Getz recordings that set him apart from the herd. ‘Woody Herman band, a star was born. Even as part of the “Four Brothers" tenor saxophone arsenal in Herman's Herd, Getz's fluid tone and ravishingly beautiful musical ideas were a singular delight. In his solos, Getz managed to transform the lyrical brilliance of Lester Young's playing into a modern, vibrant style that seemed to touch ‘everyone who heard it Onhis own With his creative powers at their peak, Stan Getz left Woody Herman and set out fon his own. After a couple of years of fronting his own quartet, he added Jimmy Raney on guitar, giving the band greater The Stan Getz Quintet, with its gorgeous lend of Gets's tenor and Raney's guitar playing in tandem, was 2 sound that was Unique in jazz. Te was almost as if Getz and Raney breathed together. The piano chair was initially filled by Gevz discovery Horace Silver, then Al Haig, and, finally, Duke Jordan. A decade later, Stan Getz had moved on to almost unbelievable celebrity. His Roost quintet recordings wre reissued and reissued again, usually in haphazard fashion, with | The Complete Recordings of the Stan Getz Quintet with Jimmy Raney. Limited to 7500 copies worldwide, | 4 LPs [MR4-131] 836 3 CDs {MD3-131) $45 Now, for The Complete Recordings of the Stan Getz Quintet with Jimmy Raney, we are including the original Roost studio sessions, as well as the great live session recorded at Boston's Storyville, the quintet’s final session as a working unit, recorded for Verve in 1952, and the quinter’s 1953 reunion session, recorded for Prestige under Jimmy Raney’s name. Allin all, this is the Getz 10 stand the test of time, ‘Our 12-page booklet includes a biography of ‘Stan Getz, 2 complete discography, and rare early photographs “The eagerly anticipated Stan Getz Quintet recordings... arrived today. It meets every expectation — which I must tell you was guite hight” Bick Bank, Los Ange “The Getz/Raney tracks sound as {fresh and inventive as if recorded yesterday rather than 40 years ago.’ Owen McNally, Hartford Courant “Yes, this was and still is great, great jazz." -R.C. Smith, Durham Morning Herald Grant Green, we hardly knew you. backbeat to the modern experiments of Larry Young. Blue Note recorded Green in a variety of funky settings. Bue for pure hard bop, nothing matched Green's four sessions with Sonny Clark in “6 and "62. Unfortunately for the world of jazz, these magnificent sessions weren't in keeping with Galland order by phone: 203/327-7111 roa Cae ete ert ABL the soulful image that Blue Note had in mind for Grant Green. So, for nearly 20 years, they remained unissued in Blue Note’s vauls Then, in the late “70s, news of these sessions ~ and a reaffirmation of Grant Grecn’s brilliance ~ came out. Two Grant Green/Sonny Clark albums were released in Japan, followed few years later by two others in the US. ‘One of Blue Note’s house pianists, Clark had played with the likes of Buddy DeFranco, John Coltrane and Dinah Washington. For the Grant Green sessions, (Clark was joined by Sam Jones on bass and Louis Hayes (or, in one case, Art Blakey) on drums. On one occasion, Tke Quebec was added to the group. Now, for the first time, these rare performances of Grant Green at his purest and best, featuring Sonny Clark shortly ibefore his death of a heart attack at age 32, are being made available in their entirety. In addition to everything significant recorded at the four sessions, including several worthwhile alternate takes, there are two later performances featuring Sonny Clark, The Quebec, and a Latin rhythm seetion, The 12-page booklet includes an essay by Bob Blumenthal and many unpublished session photographs by Francis Wolff Green was a master at hinting at ideas, slipping into a blues phrase for a second, only total away with a run. Throughout the Pieces there’ a feeling that Green saw music making as an art in which each note had to make sense Peter Watrous, The New York Times The Complete Blue Note Recordings of Grant Green ‘with Sonny Clark, Limited to 7500 copies worldwide. 5 LPs[MRS-133] $45 4 CDs [MD4-133} 860STILL AVAILABLE “I believe it all comes originally from T-Bone Walker. And B.B. King thinks so too.” — Freddie King I one Walker may oF may not have teen the fist bluesman eve (0 ig up an elec guitar But there's Hite doubt that fe waste frst vo gure out what to do with iFanyone was born to sing and play the blues it was T-Bone. His mother was an amateur blaes singer in Dallas, and their ime was a well-known stopping-off point for visting bluesmen, such a Blind Lemon Jelfewon When T-Bone was 10 years old, he convinced his mother to buy him a guitar, Sandi didn't take long before he was playing ike an old master. BY the time he wat in his teens he was lying about hs age geting is svth some ofthe top sing bands ofthe 6s Electing he bues. Tt was viualy imposible for an acoustic guitar o be herd awe thecal ig bands Bone Walker solved the problem by perfecting an electrified guitar ae well a 4 found ands playing syleto go wah in 1942, with the Fred Slack Band, T- Bone Walker recorded the seminal “Mean Old World® b/w “1 Got A Break Baby” for Capitol By 1946, T-Bone was in his prime, Feording 48 jace-tinged cleiric luce chasis for the Los Angeles-based Blick & White label. These sides gained T-Bone tutional exposure, and taught 4 whole generation of blu guitars how ic should Eetone By the mid'S0, after yeas of success on Imperial Records, ‘-Boae was hearing hs style imitated by Bldesmen, R&B musica, Ire evenly rock Be rollers from coast 10 {All the recordings that started it ll Today, T-Bone Walker is acknowledged by all to be the true father of the electric blues. But while some of the songs he wrote live on in the repertoires of thousands of artists ("Stormy Monday,” “Pll Always Be In Love With You"), the vast_majority of T-Bone’s original recordings have, until now, been incredibly difficult to come by The Mosaic set includes all 144 tracks recorded by T-Bone Walker as a leader during his most influential years The 16-page booklet includes an essay by the noted T-Bone biographer, Helen Oakley Dance, a complete discography of everything inthis set, and rare photographs. Poe oa “Among the very best box sets released in the past decade. extraordinary Mike Joyce, The Washington Post “There's simply no way to fully express just how exciting and educational itis. It goes off the top of the seale in record review terms and ups the ante beyond the reach of all record companies currently raiding their vaults for blues reissue product. Michael Point, Austin American-Statesman “e's erly a pleasure to be able to completely trust a company that does things up right ‘The attention to discographical detail in the T-Bone set sets new standards for blues/R&CB reissues in this country Jack Woker, Cambridge, Mast ‘The Complete Recordings of T-Bone Walker 1940-1954, Limited 10 7500 copies worldwide. 9 LPs (MR9-130] $81 6 CDs [MD6-130] $90 ke “Tt must have been a long row to hoe for blues fans, these years of waiting around {for Mosaic to begin reissuing their kind of music. Bue their patience has finally paid off generously in the form ofa sx- CD, alburn-sized boxed set —Jack Sohmer, down beat RO lacs ee Presenting The Complete Dean Benedetti Recordings of Charlie Parker. I he story behind the myth begins in March of 47. Bird took an extended gig a the HicDe- Ho in Los Angeles with Howard McGhee, Hampton Hawes, Addison Farmer and Roy Porter. Bird was healthy, having jst come out of Camarillo Sate Hospital, and he was ft the peak of his powers, When a saxophone Playet/ amateur recordist named Dean Benedetti heard him, he was awestruck Benedetti approached Bird and asked for permission fo run a disc recorder during the fete. Bird agreed, and Benedet began! To preserve dae space; Benedetti would stat the Imachine when Bird was soloing, and stop the machine as soon a¢ the solo war aver Benedeti used mike, paced right i font of Binds instrument, and except for Bird and the base dretly behind hin litle ele was captured on dis ‘Using this echnique, Benedet recorded nearly four hours of concentrated Bird solos over a two-week period, with the sound arying from quite poor to furly good. Bird's musical ideas, However, are never les than bella (On to New York. Later in ‘47, Bird returned to New York... and Benedetti followed. This time, however, he had an early model tape recorder. Benedetti taped Bird one night at the Onyx, and another night at the Three Deuces (where in one segment, we hear Monk coming out of the audience to teach Bird how to play “Straight, No Chaser.”) The quality of the New York recordings is ite good, and they account for fully half of this colletion, "These are the Benedetti recordings in their entirety, and after forty years of rumor, speculation and debate, they are at last svailabe to the world, Everything is transferred directly from the original discs and tapes by legendary engineer Jack Towers and co-producer Phil Schaap. The 48-page booklet includes musical transcriptions by Benedetti and ‘others, essays by Phil Schaap on Parkers life during this period, a biography of Dean Benedetti by Bob Porter, a musical analysis by Parker authority James Patrick, and Phil Schaap’s complete annotated discography of all the music inthe st, The Complete Dean Benedetti Recordings of Charlie Parker is our first Mosaic Unlimited release. Since we own, rather than lease, the rights to these recordings, we are not restricted in any way as to the number ofsets we ean make available, This historie set, as well as future Mosaic Unlimited sets, will remain in print and available to’ the imernational jazz community for as long as Mosaic exists he Camplin Beet Recordngsof Charlie Parker, Tot ehted asin sobs [ato- 129) $90 Cbs M7129] $105 New Orleans jazz wasn’ dead. And these records proved it. DW pig esis 8 fom ino Ofieans roots inthe 1905 and 1405 ‘most of the jazz audience followed. But not Die-hard enthusiasts of authentic New Orleans jazz, like Bill Russell and Frederick Ramsey, were determined to keep the sound alive, ‘When they learned that many of the ‘music's early authentics — such as the legendary trumpeter Bunk Johnson and clarinetist George Lewis — were stil actively playing in New Orleans, and in very much ame style as ever, their mission was clear In May 1943, Bili Russell supervised the George Lewis recording session which, like the ground-breaking 1940 recordings of Bunk by Heywood Hale Broun and the 1942 Jazzmen sides by Bunk with George Lewis, proved to the world that all the passion ofthe New Orleans style had survived intact When Alfred Lion heard some of the diss, hae immediately bought up the rights to the entire session, and created a new subsidiary, Climax, to release them, ‘Atime warp, pure and simple, ‘When "Climax Rag” hit the Commodore Music Shop on October 11, 1963, it helped usher in a full-fledged revival of pure Orleans jazz. Francis Wolff called it “the very incarnation of the spirit of New Orleans jaze."” The fact that this was & current, working band made the event al the ‘more uplifting. George Lewis became the standard bearer forthe true disciples Live for real By 1954, the George Lewis Band was still going strong, A radio concert and a live concert, recorded in Bakersfield, California that year, were also purchased by Blue Note. “Then, in 1955, the band made its most professionally produced recordings yet, at Rudy Van Gelder's studio under Alfred Lion’s supervision. Well, George Lewis was a man after our own heart. At Mosaic, we to0 believe in keeping original music alive, So, our George Lewis set includes all 25 Climax tracks, 13 of which have never appeared in the U'S., plus both 1954 concerts, with one unissued tune, as well as the Van Gelder tracks from 1955, with four unissued performances and one issued previously only on a 10-inch LP. The 16- page booklet contains a biography of George Lewis by Page Van Vorst, along with a complete discography of this set and rare photographs by Francis Wolff and others The Complete Blue Note Recordings of George Lewis. Limited to 7500 copies worldwide 5 LPs [MR3-132] $45, | 3 CDs [MD3-132] 545, “This mother lode of bebop alto saxophone is a seven-CD, 10-LP collection of consistently masterful, awe-inspiring performances that capture Charlie ‘Yardbird’ Parker at the peak of his powers.” —Tom Moon, Philadelphia Inquirer ce 203-327-7111 Pe ay Meee 4 “You don’t have to care about the historical implications of George Lewis's music to appreciate how powerful itis His playing is both deeply spiritual and technically assured.” -Kevin Whitehead, National Public RadioSTI They were called the “ lue Note Jazzmen”— any one of them was capable of calling the shots. cay the session would be Edmond alls All Star Quinte Another dey sro fenture James P Johnsons Blue Nove JRzsmen, Onschid date Vie Denson would bein charge: A fourth and Sidney De Fai? Bie Nove Stompers had booked the room Fromi941 095, they werethenucleurof ancary Blue Noterpertory company ad al they played can be found on The Complete Eamond HallJames F.JobmsonStiney De ‘The Complete Edmond Hall/ James P Jobnson/Sidney De Paris/ Vie Dickenson Blue Note Sesions Limited to 7500 copies worldwide, | 6 LPs [MR6-109] $54 | 4 CDs{MD4-109] $60 Pars/Vie Dickenson Blue Note Session Hall virally talked on his clarinet, De Pacis’ trumpet was reportedly one of the ‘toughest rumpetstocutin Harlemjam sessions Dickenson didn’t just participate in tradition, he nearly was oneal by himself, staying active ‘on trombone more than 60 years. “The greatest pianist.” And who was the greatest pianist in jazz? Accordingto Duke, Basic, Hines, Tatum, Fats, and Willie The Lion, it was Johnson, the great Stride pianist who was uch an important tran sitional figure between ragtime and jazz. Side men include Chatlie Christian, Red Norvo, Teddy Wilson, Harry Carney, and Ben Web: ‘Atestival of styles. Get ready for a festival of New Orleans, stride, swing, third stream, and every combina: tionimaginable, Six LPs, including 13 unissued tracks, six available only on 78s, and most of the rest scattered across litle-known antholo: gis. Where possible, the original discs were newly transferred for added clarity and purity A.24-page booklet with biographies, musi- calanalysis, detailed discography rarephoto- igraphs, and more, “Mere words cannot really convey the overall excellence of the jazz music contained in this Mosaic six-LP album. John Nelson, Missisippi Rag a rare opportunity to hear [Chatlie Chris. tian] on acoustic guitar instead ofthe electric.” John S. Wilson, The New York Times Albert Ammons and Meade Lux Lewis— good-time boogie woogie from Chicago's South Side. sai bo, bar these boogie woogi play- ers from Chicago made just about the happiest They played wheneverthey could—insmall South Side bars, at cent parties, at hops. The audience wanted dance musi, and they got it Rollicking along on rickety upeightsin echo halls, these solo pianists hado bangit ouceight The Complete Blue Note Recordings of| Albert Ammons and Meade Lus Lewis Limited to 3000 copies worldwide. ‘3 LPs [MR3-103) $27 | 2 CDs [MD2-103} $30 L AVAILABLE to the bar so pe Boogle woogie reaporais INow the world is st for a complete reap praisl of their recorded work. Mosaic has {iscoveredall he original discs from Janvary 6, 1939-— the very ist Blue Note sesion, when [Ammons and Levis were athe height oftheir Known discographies and constitute the bulk of the unissued tracks on The Complete Blue Note Recordings of Albert Ammonsand Meade Lux Lewis could hear the rhythm. Rarities and now discoveries. Assessingand comparing the taentsof Lewis and Ammons is easier now that the 78 are assembled, chronologically, in one package. Hear nine Ammons solos, 23 Lewis solos, including four on harpsichord, plus two piano duets. Three LPs, with cight tracks previously unissued, 13 available until now only on noisy 78s, 10 available only on rare 10-inch LPs, “This se is one to invest in immediately Stanley Dance, Jazz Times What drove Alfred Lion? Be: ant from Berlin, Lion was a itz fn the night he went to John Hammond's “Spirituals to Swing” Concert 1938. Six dayslater, he wasajazz producer with his first record—and he never looked back (See Mossic’s The Complete Blue Note Re- cordings of Albert Ammons and Meade Lax Lewis [MR3/MD2-103)) The Pete Jobnson/Earl Hines/Teddy | | Bunn Blue Note Sessions Limited to 5000 copies worldwide. 1 LP[MRI-119] $9 Not available on CD. |‘passion for the music. Lion went after the pure, unadulterated thing whenever he recorded. He had a passion for the music and recorded the music he liked. This, gether with his penchant for quali make the Blue Note catalogue the awe-inspi ing historical record itis Three very eal sessions demonstrate Lion's ability to elicit great performances by putting the best players in compelling new environ: ‘ments, We've compiled them on a new Mosaic LP, The Pete Jobnson/Earl Hines! Teddy Bunn Blue Note Sessions. Tracking down the greats Lion tracked down Ear Hincsin Joly 1939 aud convinced hin to record two intrare piano solosfora inch 78 Theseare dazzling Ents from the heart of improvisation, quite unlike most of Hines’ discograp! . In December be enticed boogie woogie master Pete Johnson into the studio for to piano solos and four stompin’ sides with base nd guiar, This isblues and boogieaitsinest. Solo jazz guitar? Okay by Allred Lion, who recorded Teddy Bunn playing unaccompanied in March 1940. The results are exceptional. With this Mosaic release, we've reached nilesnnes the compleion of ur exhaust program of restoring and suing but owo of the great wadtionl jazz and boogie woogie Blac Note sessions of the 78 era Includes an insightful esay by Stanley Dance Romping, stomping boogie woogie from pianist Johnson, Bob Claypool, The Houston Post “Avvaluable dise forthe historical documenta: tion ofthe solo Johnson andthe oft overlooked Bunn.” Alan Bargebuhs, Cadence His tone could fill the Polo Grounds—one of the giants of jazz, Sidney Bechet. ‘An astonishing improviser. Bechet had an astonishing ability to im- provise. The Complete Blue Note Recordings Of Sidney Bechet sareminder of hissubstanil He had a powerful one, thick vibrato, and unflagging energy. He wasthe ist teuemaster of the soprano saxophone ‘New transfers ad clarity. Becher appeared from 1939 to 1953 on 13 sessions for blue Note, 10 as leader, yielding these 74 selections, Mosaic presents them on six LPs, many tracks taken from new dise transfers to give added clarity. Including 13 unissued tracks and four titles previously available only on 10-inch LPs or 78s. ‘A l6-page booklet includes a bio by John Chilton, musical analysis by Max Harrison, full discography, rare photographs, and Blue Note cover art from the 40s, (ln order to be complete in each case, this collection includes three selections from the ort of Harlem LP and seven selections from the Art Hodes set.) 43 (Ged) Reissue of the Year (1986 down beat Imersational Critics Poll) “One ofthe invaluable series of collections on Mosaic Records.” John S. Wilson, The New York Times ‘4 monument, demonstrating Bechet's con: sistency and drive in any seting.” Eric Levin, People Complete Blue Note Recordings The ngs | of Sidney Bechet | simian coeie. | | ‘SLB IMRE 110) 834 4 CDs {MD4-110] $60 | Eseries “Ihave devoured my nine Mosaic sets and I’m ready for more! One of the earliest “super sessions” created Blue Note’s first hit. Bg ieseccens ete: of Alfred Lion, who gave up imporvex port in 1939 to record Abert Ammons and Meade Li Lewis “The third season on hie edging abel was an experimental unit which united trumpeter Frankie Newton, |. C. Higginbotham on trombone guitar Teddy Bunn basis ohany ‘The Complete Recordings of the Port of Harlem Jazzmen. Limited to 5000 copies worldwide. 1 LP [MRI-108) $9 Not available on CD. Williams, drummer Sid Catlett, and pianist Albert Ammons, ‘Al their classic 78s, all together. The Complete Recordings of the Port of Harlem Jazzmen includes all theit 785, cut on two separate days (the second one with Lewis instead of Ammons, and Sidney Bechet on clarinet and soprano saxophone), ‘Wegetto appreciate the wailing melancholy ‘of Becher, the buzzing, colorful statements by Newton, Bunn’s drama, Higginbotham’: con- fidence, with Ammons and Lewis tying it all together. Areal treat:"Summertime,” with Becheton soprano, the record that racked up the coins in jukeboxes as Blue Note's first hit. 15 (tied) Reissue of the Year (1985 down beat International Critics Poll)“I quit!” —Johnny Hodges to Duke Ellington in 1951. FReeee sister ioc wo Phonstand blow tothe Elington Or ‘hen Butsver oo many yeasofeling ke 2 Seman ony Hodges tl the tie had THe been with ington since 1928, when Duke first heard the young ato stxopone player At 2, Johny Hodges had the chops together withafreshindividalsyle that made tim pine candidate for solo sardom, "Though the years, Hodges had many op- portant in the spotlight bork on tour and tn eordings He Seveoped spicata Towing smongjarefanse and bythe ate 30 he'd become an important influence, What be did have was the chance to prove himself as Time to move oF Hodges’ solo contract with Norman Granz gavehim theopportunity toleadhis own, ight, seven-man working band, Over the course of the next five years, he would surround himself witha galaxy of 50s azz greats, including John Coltrane, jimmy Hamilton, Ben Webster, Flip Phillips, Farry Carney, Emmett Berry, Sonny Greer Billy Strayhorn, AlSears,and Lawrence Brown ‘Bur great asthe musie was, it did not bring Hodges fame, fortune or glory commensurate with the added pressures and details thae went with leading his own band, ‘Welcome back!” — Duke Elington to Johnny Hodges in 1955. Tnlate 1955, ohnay Hodges returnedtothe Ellington organization Twas the end of 4 mini-ers, The music created between 1951 and 1955 by Johnny Hodges and his “small big band” was released briefly on the Clef and Norgran labels, and later reissued on Verve. For this release, itis being made available in its entirety, transferred directly from the original master tapes, and chronologically sequenced. The tracks total 15 ‘complete studio sessions with Johnny Hodges and Co.— and a delicious wealth of scaled: down Ellingtonian swing, The 16-page booklet includes a musical analysis by Stanley Dance, a biography. of Johnny Hodges, and rare photographs of his band in performance. “This is one of the great jazz collections. Ralph de Toledano, National Review ‘a justexeellent music. Highly recommended” Tim Smith, Cadence there is no better concentration of Hodges under one cover than this Mosaic set W. Royal Stokes, Jazz Times He was, as Ellington said, beyond category, Hodges played with more self-assurance than almost any musician I've ever seen Nut Hentoff, The Wall Stret Journal |The Complete Jobnny Hodges Recordings 1951-1955 | | Limited to 7500 copies worldwide. (6 LPs [MR6-126) $34 | Not available on CD. | SCS rebeniemeea Three plays a quarter... Ike Quebec's soulful jazz jumps off these jukebox sides. Dberssetio-9 095. aa ines forthe big oned impassioned tenor players from Coleman Hawkins and Ben Webster on down. Hard bop and the col school were the rage. Everything eve took a feeses. Tke Quebec one ofthe most soulful, me lodiesand complete musica to pickup the tenor saxophone (ee Mosaics The Complete Blue Nowe Fortes Recording of The Quebec ind jobm Handee[MR4tO¥p, did nottecord eal uring this prod. But he never stopped playing Real single But by 1959, the urban, black jukebox cr ‘uit was big enough to hoid blues, R&B, and jazz. So when Blue Note president, Alfred Lion, decided to cursomesingles—reai singles 45 RPM records with big hole in them— and Tke Quebee’s sound hitthejukes, hismusie was again recognized for its strength and heare- rending beauty. (Note: very few recordings were constructed to be released a singles at that ime— most singles were album cuts with a quick fade-out.) ‘At a total of three single sessions (1959, TER eee aoc ieee pes TILL AVAILABLE 1969, and 1962), Quebec was joined by such sidemen as Skeeter Beston guitar, Mile Hinton and Sam Jones on bass, Sir Charles Thompson fon organ, and J. C. Heard on drums. Most of the titles, from throaty blues originals to big, bold standards, remained unissued on LP until now. Mosaic has taken the entire output of these three recording dates and assemblealthem intoathree-record set, The Complete Blue Note 45 Sessions of lee Quebee. ‘The 12-page booklet contains Quebec's biography, a complete updated Blue Note dis- cography, a wonderful essay by writer and tenor player Loren Schoenberg, and many previously unpublished photographs of the Sessions, taken by Francis Wolff #2 Reissue of the Year (1988 down beat lnvernational Crities Poll) “These sides provide revelation upon revela tion of Quebec's completeness as tenor voice He shares Coleman Hawkins’ and Ben Webster's commandingly stout tone...the ‘exuberant shout of Count Basie tenor Hler- Schel Evans is here, oo. # 9° Peter Kostakis, down beat ‘Quebec was definitely a master of saxophone jazz. His tone goes back to the classic tenor Sound of Coleman Hawkins, Ben Webster Herschel Evans, Budd Johnson, and Buddy Tate, His performances show a ceaselessly in~ Owen Cordle, Raleigh News and Observer | ‘The Complete Blue Note 45 Sessions of Ike Quebec | | Limited to-7500 copies worldwide 3 LPs (MR3-121] $27 2 CDs[MD2-121] $30 | SSR | > zz anism — oF ur Ks: cama shew, me ow OP, 660 mie eater tow Merle Gane 8First we'll tell you what we went through with Art Hodes, then we'll tell you why. I: think reissuing classic jazz isa easy {:pulling box offsshelfand pressingup dome records get 2 load of what we went through with the Art Hodes recordings. First wehad totransfer the original 16-inch “Those were compared. anes mad for reissues in 1981, n 1969, and third sein the Os: We even transferred 78s we could acquire for further study instaking comparisons. ‘We made painstaking A/B comparisons of all existing tapes for every cut, just to see if transfers made 35 years ago were better than ‘ours. We're committed to the best even if it rowing out our own work As forthe documentation, let’ just say that experience has taught us not to believe every printed word Sohow comealltheinterestinapianistwho recorded before World War Two? Because Hodes is steeped in three important strains he's from Chicago, he plays New Orleans, and he plays it blues. You can trace the lineage of contemporaries suchas Ray Charles, Professor Longhatr and Dr, John back to Art Hodes and New Orleans jazz ‘Many unissued or rae sides, Hereis Artrollingalong with Sidney Bechet, Wild Bill Davison, Vie ickenson,Baby Dodds, Edmond Hall, Max Kaminsky, and Mezz The Complete Blue Note ‘Art Hodes Sesions Limited 10 7500 copies worldwide. 5 LBs [MRS114] $45 4 CDs [MD#114) $60 My ne: 203/929-9526 VISA & Mastercard on or for Mezsrow. ‘The set includes many perform ances previously unissued or released only on sand IOinch LPs: Five LPs plus a 16-page iooklet with orginal liner note, a thorough discography, Art Hodes’ own writings, and ‘mang rare Francis Wolf photographs las a w spprecaton by Dan Morgen collection includes seven selections from the Sidney Bechet set) “This delightful five-record set collects all of Hodes’ informal Blue Note dates, with won: derful contributions from Sidney Bechet, Max Kaminsky, Vie Dickenson, and Baby Dodds among others.” Francis Davis, Philadelphia Inquirer jow Mosaic restores order with meticulous completeness and honest sound, ‘Alan Bargebuhr, Cadence Bird told Miles and Dizzy, ‘You better watch out. There’s a little white cat on the West Coast who's gonna eat you up.” lice tess in out of awe, not pride, Hemet Parker when chealtis was potting together abandin A Every trampeterin vA ame down and ater he played wo tunes, Parker canceled the fudiion and hired hime hero player, ‘What Parker copied, what this release revelyisthat Chet Baker may have been one Fe couldn’ reid a note, Didthavea clue what fabulous eat fr melody and comple mentary pay “Every take went someplace else. Tewasn't until we were preparing the Gerry Mulligan set[MRS-~ 102] that his talent became obvious to us. Michael recalls, “The music totally floored me. Every take went someplace cbse. Even on the same number, he never used an idea twice.” Turned on by Baker’s sideman ‘work, Michael went co work on these Night after night, Baker's only safety net ‘was Russ Freeman's great compositions and firm support. The Complete Pacific Jazz Live Recordings of the Chet Baker Quarter with ‘Rus Freeman isthe evidence Newly discovered side: This set—recorded in 1954—gives you ev- cry note recorded live, four LPs including two And a half LPs" worth unavailable until now. TRC TILL AVAITLABLE The Complete Pacific Jazz Liv Recordings ofthe Chet Baker Quartet | ‘with Russ Freeman Limited to 7500 copies worldwide, | 4 LPs (MR4—113] 536 3. CDs [MD3—113) $45 [Ee The cight-page booklet offers an in-depth es- say by Joe Goldberg, a 1954 article by Pacific Jazzowner, Dick Bock, and William Claston’s photographs of the actual events If youhaven’tenjoyed your own discover of this remarkable trumpeter, clear space and get ready ta be floored “Anyone who doubts that Chet Baker is a ‘major instrumental talent—and anyone who is ‘unaware that Russ Freeman was an exceptional pianist—should hear The Complete PacficJazz Recordings of the Chet Baker Quartet w Russ Freeman.” RC. Smith, Durham Moming He la Here’s one L.A. soloist with no N.Y. comparison— Dure Pepper at his peak. and open up their ears? ‘Sure, New York was the center and L.A. echoed the developments, but whenit comesto ‘ArtPepper only geography separated him from the innovators, Pepper never fully adapted to the cooled. cout West Coast style, His phrasing was jagged and surprising, his leaps between registers ‘dramatic, his tone full and rich, You can point to saxophone forebears with clements of his laying, bucall together, they belonged only.Control, precision, emotion. He could move readly between blowing dates and big band chars, with solos full of spontaneous fragments that still managed to hc ingen. That wa he elena Peppers work, perhaps echoing his trouble nature—the firm control and precision, bal- Snced by inense personal emotion ‘Two collaborations with Chet Baker. He was working extensively with Chet Baer oecasionally with fellow saxophonist Jimmy Heath's arrangements, during the late "50s, These performances were made during. the most important year of his musi, when he was truly striking out on his own, "The Complete Pacific Jazz Small Group Recordings of Art Pepper teoduces a number of racks never before availableor released only in edited versions. Included are two sextet sessions co-led by Artand Chet Baker (thefirst could be heard until now only by purchasing fivedifferentalbums), the Shorty Rogers nonet date, and four saxophone encounters with Bill Perkins. Sidemen include Phil Urso, Richie Kamuca, Pet folly Jimmy Rows Kut Fres- man, and Shelly Manne, The eight-page book- letincludes an essay by Michael James, photo graphs from original recording sessions, and newly discovered discographical information. 43 (Ged) Reissue of the Year (1985 doson beat International Critics Poll) *...captures Pepper's fertile form in 1956 and. 1987...allthese recordings tingle with vitality.” Eric Levin, People Siem ccs PSs ‘The Complete Pacific Jazz Small Group Recordings of Art Limited to 7500 copies worldwide. Less than 1000 copies remaining. ‘3 LPs [MR3=105] $27 Not available on CD. Shorty Rogers was a West Coast swinger from way back. PPivescossiozs tegen stad op over the yet for being “oo cool imay be tht dips ofthe school have Been mmissingoncalthekeycomponensesablichd inthe dS by the pron of hat gone Take fr enampe ac arrange compos and trumpet payer Shoryy Rogers: Shorty 1951 octet revoning wih Art Pepper and Hampton Haves om Capitol and fs 1933 Guints recording with Bud Shank on Noe toine (ater reissted on Pacific Jay fly {Stblshed him andthe West Coss sound 3+ SSovinging cool” But swinging all the cae! Five allantic LPs in 13 months. amoncalhshewacreings whol. sage of West Coast arn But rhythm ic Sorungas hard as any form of az, His plying impressed the East Const ears at Atlantic Re ods and in 1954, they signed Shorty Rogers. ‘Thos began 13 months of marathon recording sessions that ed thre albums cessed dr ing 1958 and 1956. . plus enough solid materia tolillup evo more LPs forthe Bish Alanic Iabel inthe mid "70s, “The 13 months Shorty Rogers spent record- ing for Atlantic was the most poli and ees- tive peiod of his carer. AUanic gave him free tein inthe sto, and be took fall advantage Off using se emrely diferent sets of all-star players over the course of Il sssons. (Think hour thats virualy the equivlen of one recording session every month for an entire year!) ‘Amazingasit may seem, there wasn’taless than-interesting track in the entire batch. But the tracks, scattered scemingly at random among five LPs on ewo continents, released lover a 20-year span, were nearly impossible to find, Mosaic straiohtens out the mess. Sothere wehaveit. Atypical Mosaic under taking. A patchwork quilt of long-unavaiable, extremely important recordings by a major, influential jazz figure, which cries to be Sraightened out and released in coherent fashion The Complete Atlantic and EMI Jazz Re condingsof Shorey Rogersdoesexacty that. The setbegins with theearly Capitol and Nocturne recordings reproduced dicey fromthe master tapes. Then tefive LPsof Atlantic material ae 2 last organized in ther orginal reeording order and reproduced directly from the supe These sessions feature such L.A. mainstays 4s Bud Shank, Jimmy Giuffre, Bill Holman, Conte Candaii, Harry Sweets Edison, Barney. Kessel, PeteJolly, Lou Levy, and Shelly Manne among many others. A significant alternate take of “Papouche,” released here for the frst ‘ime, rounds out this history-making set. Tncluded with the package is a 16-page booklet by Todd Selbert featuring hiscompre- hensive biography of Shorty Rogers, musical analysis ofall 54 tracks, and photographs by William Claxton from the Atlantic sessions. “This outstanding set provides positive proof that what is known as West Coast jazz—and much of whatis presented here touched off the snre—was swingin’ stuff tis hard to believe ‘that some ofthis material was recorded nearly 40 years ago. It still sounds fresh and vital todiy.” David Zych, JazeTimes “These recordings for the Atlantic label, were stunning in their quality as well as quantity. Rogers wrote most of those pieces and ar ranged afew standards, aggressively exploring instrumental combinations andcolors... There are lots of great players on these 54 tracks.” “Fresh Ain” National Public Radio The Complete Atlantic and EMI Jazz Recordings of Shorty Rogers Limited to 7500 copies worldwide. 6 LPs [MR6-125] $54 4#CDs[MD4-125] 860 “the most careful of all jazz reissue labels” —Nat Hentoff, The Wall Street JournalSTILE AVATLABLE The seminal Chet Baker sessions— cleaned up and sounding incredible. NFB eee any ea what he splayinginor what hechorde are explained quartet member and composer, Russ Freeman. "It’s all just by ear. He has nothing to fall back on, But there would be certain nights, maybe once a week, when he would be absolutely staggering,” We are proud to release The Complete Pa ‘Jazz Studio Recordings of the Chet Baker Quartet with Rus Freeman, Here are the ses sions where Gerry Mulligan’s alter egostepped The Complete Pacific Jazz Studio Recordings of the Chet Baker Quartet ‘with Russ Freeman Limited to 7500 copies worldwide. 4 LPs [MR#-122] $36 | 3 CDs (MD3-122} $45 ad out front, He was destined to be a before he turned 30. The Freeman Baker counterpoint is un- canny, peppered with harmonic twists and taut musical thinking. Baker knows how to phy'the"spaces” And between them, heknows eto put the absolute rightest notes. Back o bases. The st inchades two and a half sides of instrumentals and one and a hal featuring Baker's vocals (he sang "with an innocent sovetnes that made gir fll ght ot oftheir Saddle oxford,” sid one reviewer), Many of these vocal racks recorded berween 1983 nd 1957, were orginally released drenchedineeho and foggy from heavy equalization. We tearched every tape version of each ext and tvrung:emoue backtothebasicas-ecorded™ Sound Mosaic collectors expect. Overdubs add later are gone PRR tt 2omoiotn OR eer ‘This four-record ser deliversthe clean, fresh music of the kid trumpet player from the West Coast with the East Coast swing, the great sound, and che innate timing to put it all co gether Untrained hones. ia siti, he collection confirms what 2 lot of fans have been tying slong — Chet Baker plays and singsjaze with untrained hipness and ye Gal simplicity ‘Chet serick mess apant then,” sid Free coming through loud and lear inthe sessions that made thecifference, The 12-page booklet containsaperceptiveessay by Wil Thornbury, ssl ani by Doug Ramsey, and many ‘unpublished photographs by Willam Claxton Irom the actual sessions Chet Baker fanscan’tbe withoutthisone,and ’ historically signficant— the guy is even ercer than you originally believed him robe Bob Claypool, The Houston Pos “Hisplaying touches emotional nervecenters George Kanzler, Times Picayune Entertain ment Guide “Mosaic... has used the tapes made by Pacific Jazz, withoutattempring todoctortheminany ‘way and the effec is outstanding.” Ralph de Toledano, National Review We dare anyone to dig up more unissued Mulligan. were not prepared for Gerry Mulligan Afterall, look atthe attention he got, viet ally exploding onto the scene. He walked into the Hag in L-A. dead broke and a few months ater was headliner. Then Time magazine. And the critical controversy for eliminating the pi ano. Certainly with such interes, the mine ‘would be played out. Well, we found 2 motherlode, all just as good as everything that’s been release His most innovative years. The years were 1952 and 1953, Mulligan’s ‘most innovative period. Chet Baker was with him, warm and introspective next to the bar tone players deep tones. Oceasionally, Lee Konitz or Jimmy Rowles would sit in Mialligan's writing defined the word “inter ply.” Finally, every bit of releasable music is in conebor. The Complete Pacific azz and Capi tol Recordings of the Original Gerry Mligan Quarterand Tenet woth Chet Bakeriealong, waited coherent compilation, with 13 newly nal length and seven tracks valuable previ ously ony on rare 10-inch LPs or mula ‘Additional sidemen include Red Mitchel, Chico Hamilton, and more. Five LPs, plus 4 2-page bookler including an essay by Pet Welding, an updated discography, and unpub: lished William Claxton photographs from the al sessions, history making sessions... previously unis sued performances... absolutely essential Frank Driggs, Audio ; reminds us that the a classic of its kind, music of the Mulligan/Baker quartet was of seminal importance in the establishment of West Coast jazz Dan Morg | The Complete Pacific Jaze and Capitol Recordings ofthe Original Gerry Mulligan | (Quartet and Tentette eth Chet Baker Limited 07500 copies worldwide 3. CDs (MD3-102] $45, Sold Out om LP Lex than 500 CDs remaining When jazz turned commercial, Mingus turned rebel. The fire of the times—in these rare Candid recordings. A evs turn back the clock to 1969. The times were turbulent, and so was the music. Mingus’ core personnel (Erie Dolphy, Ted Curson, and Dannie Richmond) were ca pable of anything, and given Charles’ inner ‘demons, they nected spirit and strength to go exploring with him. Tnthespring, when Mingus and others were disappointed with the financial arangementsat the Newport Jazz Festival, Mingus hatched plan. The Newport Rebel Festival Critics and musicians hailed it Still boiling, Mingus hit the studio. The Complete Candid Recordings of Charles Mingus was the result. Results left musicians elated, “Mingus and his collaborators were elated. T madeie!” Richmond yelled after one take, finally got to play it ike I've been hearing it.” And Dolphy said, "We never got it together like chs inthe club.” “Three sessions in all were recorded. The first added Lonnie Hillyer, Charles MePher- son, Nico Bunick, Jimmy Knepper, and Britt ‘Woodman. One month later, Curson and Dolphy returned forthreecutsonadatefeatur- ing Hillyer, MePherson, Booker Ervin, and SS ‘The Complete Candid Recordings ‘of Cherles Mingus Limiced to 7500 copies word 4 LPs [MR4@111] 336 3 CDs (MD3-111] 45 ide Paul Bley. Also that day, a remarkable jam was assembled—Mingus with Richmond and Eric Dolphy, plus Jimmy Knepper, Jo Jones, Tommy Flanagan, and Roy Eldridge Roy told the bass player, “A lot of the young ones forgetthebasics. Theydon'tgecall the way down into the music. You did, baby. Includes unissued masterpieces. Four LPs include the two Mingus Candid albums, seven titles issued only on antholo gies, and five unissued masterpieces. A 12 page booklet includes essays, Nat Hentofi’s original liner notes, and newly discovered photographs. 4l (tied) Reissue of the Year (1986 down beat International Critics Poll) “Thismay bethemostvaluableitemin Mosaic’ series to date.” Leonard Feather, The L.A. Times you probably have the original albums re leased on Candid, or the Barnaby reissues, ut don’t le that deter you from looking into this four-record seton Mosaic... superb sound and annotation and five previously unreleased track. Chris Albertson, Stereo R How could so much explosive energy stay hottled up for so long? Cecil Taylor and Buell Neidlinger on Candid. You haven't heard the half of it. Cc il Taylor may bein all the turbulent History of jazz the one individual who tas thrown dowa the moet challeageo— for critics, for listeners, and for fellow musicians. ‘While many in music are content to estab lishastylefor themselves, gainsome novoriry, and stick with the shiek Cecils career has ten a constant, uncompromising journey Today, he's an acknowledged leader ofthe avant-garde, whowe concert canst for hours sf unetenag Guoube leiog masittansand concertgoers equally exhausted Bit there were Galy bine of where bis anusieal exploration would take him when he, Neidlinger Dennis Charles, anda young Archie Shepp entered the studioin October 1560 and January 1961 romakethe recordings that wou leary state his importance wo the worl In the tradition, Some listeners are reminded of Ellington, Monk, and Mingusby the harmonies Cecil was investigating, which suggests he had already aligned himself with the most adventurous musicians in thejaze tradition, Buetherhythms ‘were his own brew, Hints of stride showed up inCecil’stwo-handed playingstyle, and he had already developed an ear for the heavy percus: sion of African music. Clearly, he was on his way to inventing himsell Froma total of four days of intensive play ing, Candid released exactly one alburm— The World of Cecil Taylor. "Ten years late, in 1971, (CBS/Sony in Japan released an all-new album from the second sessions, which were actually led by Neidlinger. Later that same year, Bar- naby in the US- released yetanother al differ ent Cecil Taylor album, ‘Taree down, three to go. AAs obscure and hard to find as those three albums are, alike amount of music from those Sessions went totally unissued... until now This Mosaicsetcontains everything of merit from the Candid sessions, including three LPs’ worth of unissued titles and worthy alternate takes, In addition to the quartet recordings, there are several tricks with an expanded en: semble that includes Billy Higgins, lark Terry, Roswell Rudd, Charles Davis, and Steve Lacy Historic highlionts. Listen for the recording debut of Sunny Murray on the previously unissued Taylor composition "Number One.” And ina series five takes on Cecil's masterful “Ain” heat how the quartet (with Archie Shepp also mak- ing his debut) work their way into the compo- sition one experimental step ata time-—all the way through the master take— and then one take beyond! The 16-page bookletincludes musical re niscences by Nat Hentoff (produ original sessions) plus a musical anal The Complete Candid Recordings of Cecil Taylor and Buell Neidlinger | Limited 1 7500 copies worldwide. 6 LPs [MR6~127] $34 4 CDs [MD#-127} $60 personal recollections by Neidlinger. Addi tionally, there’ a complete Taylor/Neidlinger discography and rare, unpublished photo ‘graphs, invaluable the year” Michael Ullman, Boston Globe icsmy early pick forreissueof ..this boxed set i alittle bit of heaven... i's an unalloyed pleasure.” Robert Derwae, Cleveland Plain Dealer “Every note on thefour-CD set The Complete Candid Recordings of Cecil Taylor and Buell Neidlingey attests to the uncompromised bril- liance of pianisv/composer Taylor.” Russell Woessner, Philadelphia City Paper There is already no doubt what 1989's best reissue will be.” Jules Epstein, Philadelphia Tribune 21ot blue: THE BLUE NOTE PHOTOGRAPHY Francis Woltt Francis Wolff made his mark on the jazz world as Alfred Lion’s partner at Blue Note Records, an association that helped bring the ‘world one of its great musical treasures. Asa labor of love, Francis Wolff also took photographs at every Blue Note session during the 23-year period from 1944 to 1967. His album covers and liner-note photography made ant indelible impression on jazz fans and musicians alike. Now, the photography world to0 is coming to appreciate his artistry, as demonstrated in this piece excerpted by permission from the October 1989 issue of Darkroom Photography magazine. By DEAN BRIERLY There's the look of a painting by Picasso, che fone and only sound of a Stravinsky symphony or the unmistakable mise-en-sene of a film by Renoir. And there is Blue Note Records, Tf you were a jazz fan back in the ‘50s or ‘ou could play vireually any one ofits records and tell solely by the sound swinging, soulful, hard bop engineered to perfection—-who had made the record. And when you gazed at the moody, atmospheric cover photo, set in a brilliant art design, you didn’t have to read the fine print to Know this was a Blue Note recording, In a market cluttered with look- and sound- alikes, chis small independent stood apart from the pack, ‘The extraordinary covers Blue Note put together, coupling great photography with the designs of artists like Reid Miles, Gil Melle and John Hlermandsader, gave the label unique image—each cover a distinctive ‘work of art in its own right, yet sharing a consistent thematic vision -

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