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NEWSETS.NEWMSCOVERES.

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

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unofficial "mayor of 52nd Street," and entered the smoky Three Deuces Club, you've never heard the music on Mosaic's new set, The Complete Dean Benedetti Recordings of Charlie Parker. These are live-on-location recordings, long-

rumored to exist, from the very moments Parker was inventing the future. Finally discovered, finally catalogued and annotated, finally available. Finally you can hear them. Photograph (from 1948) by Willam P. Gottlieb.

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Grant Green, we hardly knew you.

Grant Green trum, from could blues play with the a backbeat whole spec to the

modern experiments of Larry Young. He signed with Blue Note in 1960, and the albums began to flow. Blue Note recorded Green in a variety of funky settings. But for pure, hard bop, nothing matched Green's four '61 and '62 sessions with Sonny Clark. Clark had played with the likes of Buddy DeFranco, John Coltrane, Dinah Washington, and was one of Blue Note's house pianists. For the Grant Green sessions, he put together a trio, with himself on piano, Sam Jones on bass, and Louis Hayes (or, in one case, Art Blakey) on drums. On one occasion, Ike

Quebec was added to the group. The music was at all times magnificent, consisting mainly of classic jazz compositions and standards, with a few originals thrown in. Unfortunately for the world of jazz, these sessions weren't in keeping with the soulful image that Blue Note had in mind for Grant Green. So, for nearly 20 years, they remained unissued in Blue Note's vaults.

It wasn't until the late '70s that news of these

sessions

and a reaffirmation of Grant Green's

brilliance

came out. Two Grant Green/Sonny

Clark albums were released in Japan, followed a few years later by two others in the U.S. Now, for the first time, these rare perform ances of Grant Green at his purest and best, featuring Sonny Clark shortly before his death of a heart attack at age 32, are being made

The Complete Blue Note Recordings of Grant Green with Sonny Clark Limited to 7500 copies worldwide. 5 LPs [MR5-133] $45 4 CDs [MD4-133] $60

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available in their entirety. Most of this music is either out of print or never-before-released. In addition to everything significant recorded at the four sessions, including several worthwhile alternate takes, there are two later perform ances featuring Sonny Clark, Ike Quebec, and

a Latin rhythm section. The 12-page booklet includes an essay by Bob Blumenthal and many unpublished session photographs by Francis Wolff.

What Charlie Parker was to jazz, T-Bone Walker was to the blues.

Charlie

strument; he was deeply steeped in the

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tradition; and his innovations changed forever the music that followed. The same can be said for T-Bone Walker and his passion—the blues.

If anyone were born to sing and play the blues,

it was he. T-Bone's mother was an amateur blues singer in Dallas, and their home was a well-known stopping-off point for bluesmen in town or just passing through. One of young T-Bone's earliest chores was to accompany Blind Lemon Jefferson on the street corners of downtown Dallas, passing the hat while Lemon performed. When T-Bone was 10 years old, he con vinced his mother to buy him a guitar. It didn't take long before he was playing like an old master. As a young teenager, T-Bone was accepted by a professionally-managed high school band. But when they didn't allow him to solo, he set out for greener pastures, only to be replaced in the band by his friend Charlie Christian.

Electrifying the blues.

T-Bone moved around a lot in the '30s, singing and playing with various swing bands, and mingling with the leading jazz players of the time. In that early big-band era, a guitarist's lot was not an enviable one. It was virtually impossible for an acoustic guitar to cut through and be heard above any band worth its salt. In the early '30s, various guitarists began experimenting with amplification techniques. T-Bone Walker got the bug early, and worked diligently to perfect an electrified guitar, as well as a sound and a playing style to go with it. T-Bone Walker may or may not have been the first bluesman ever to rig up an electric guitar. But there's little doubt that he was the first to figure out what to do with it.

Moving into high gear.

In 1942, with the Freddie Slack Band, he recorded the seminal "Mean Old World" b/w

"I Got a Break, Baby" for Capitol. In 1945, he began recording in Chicago, releasing 10 sides on the Rhumboogie and Swingmaster labels. By 1946, T-Bone was in his prime, record ing 48 jazz-tinged electric blues classics for the Los Angeles-bascd Black & White label. These sides gained T-Bone national exposure and taught a whole generation of blues guitarists how it should be done. In 1950, T-Bone signed with Imperial Rec ords, where he recorded 56 titles over the next four years. By the time that T-Bone moved on to Atlantic in '55, there were bluesmen, R&B players, and eventually rock & rollers imitating his style from coast to coast.

"I believe it all comes originally from T-Bone Walker. And B. B. King thinks so, too." —Freddie King

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 continue to live on in the repertoires of thousands of artists ("Stormy Monday," "I'll Always Be in Love with You"), the vast majority of T-Bone's original, history-making recordings have, until now, been incredibly difficult to come by. This Mosaic set includes all 144 tracks re corded by T-Bone Walker as a leader during his most influential years. Our informative 16-page booklet is written by Helen Oakley Dance, author of the defini tive biography, Stormy Monday: The T-Bone Walker Story. A complete discography of ev erything in this set and rare photographs round out this ambitious project.

The Complete Recordings of T-Bone Walker 1940-1954 Limited to 7500 copies worldwide. 9 LPs [MR9-130] $81 6 CDs [MD6-130] $90

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A passion for the music.

Lion went after the pure, unadulterated

thing whenever he recorded. He had a passion

for

This, together with his penchant for quality, make the Blue Note catalogue the awe-inspir ing historical record it is. Three very early 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 Johnson! Earl Hines/Teddy Bunn Blue Note Sessions.

Tracking down the greats.

Lion tracked down Earl Hines in July 1939 and convinced him to record two intimate piano solos for a 12-inch 78. These are dazzling cuts from the heart of improvisation, quite unlike most of Hines' discography. In December, he enticed boogie woogie master Pete Johnson into the studio for two

piano solos and four stompin' sides with bass and guitar. This is blues and boogie at its finest.

Solo jazz guitar? Okay by Alfred Lion, who recorded Teddy Bunn playing unaccompanied

the music and recorded the music he liked.

in March 1940. The results are exceptional.

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

"Romping, stomping boogie woogie from pianist Johnson." Bob Claypool, The Houston Post

"A valuable disc for the historical documenta

tion of the solo Johnson and the oft overlooked Bunn."

Alan Bargebuhr, Cadence

His tone could fill the Polo Grounds—one of the giants of jazz, Sidney Bechet.

-1- |^W ™ ew many Orleans, nations, teaming gave birth with to culture Bechet from and

his sound. It also filled him with the urge to travel. He stomped 'round the world while still

in his twenties. Russia. Egypt. He played for

the king of England, banged around in bistros, ran a Harlem speakeasy, did time in Paris

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

An astonishing improviser.

Bechet had an astonishing ability to im

provise. The Complete Blue Note Recordings

of Sidney Bechet is a reminder of his substantial

gift.

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

New transfers add clarity.

Bechet appeared from 1939 to 1953 on 13 sessions for Blue Note, 10 as leader, yielding these 74 selections. Mosaic presents them on six LPs, many tracks taken from new disc transfers to give added clarity. Including 13 unissued tracks and four titles previously available only on 10-inch LPs or 78s. A 16-page booklet includes a bio by John Chilton, musical analysis by Max Harrison, a full discography, rare photographs, and Blue Note cover art from the '40s. (In order to be complete in each case, this collection includes three selections from the Port of Harlem LP and seven selections from the Art Hodes set.)

One of the earliest "super sessions" created Blue Note's first hit.

Boogie Alfred woogie Lion, piano who was gave the up first import/ex love of

port in 1939 to record Albert Ammons and Meade Lux Lewis. The third session on his fledgling label was an experimental unit which united trumpeter Frankie Newton, J. C. Higginbotham on trombone, guitarist Teddy Bunn, bassist Johnny

THE COMPLETE RECORDIN THE PORT OF HARLEM JAZZME

#3 (tied) Reissue of the Year (1986 down beat International Critics Poll)

"One of the invaluable series of collections on Mosaic Records." John S. Wilson, The New York Times

" .a monument, demonstrating Bechet's con sistency and drive in any setting." Eric Levin, People

The Complete Blue Note Recordings of Sidney Bechet Limited to 7500 copies worldwide. 6 LPs [MR6-110] $54 Not available on CD.

Every time I play one of your records, I want to say thanks

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The Complete Recordings of the Port of Harlem Jazzmen. Limited to 5000 copies worldwide. 1 LP [MR1-108] $9 Not available on CD.

Williams, drummer Sid Catlett, and pianist Albert Ammons.

All their classic 78s, all together.

The Complete Recordings of the Port of Harlem Jazzmen includes all their 78s, cut on two separate days (the second one with Lewis instead of Ammons, and Sidney Bechet on clarinet and soprano saxophone). We get to appreciate the wailing melancholy of Bechet, the buzzing, colorful statements by Newton, Bunn's drama, Higginbotham's con fidence, with Ammons and Lewis tying it all together. A real treat: "Summertime," with Bechet on soprano, the record that racked up the coins in jukeboxes as Blue Note's first hit.

#3 (tied) Reissue of the Year (1985 down beat International Critics Poll)

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Mosaic stands by its plan.

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

Important artists. Not lust the biggest.

The artists we choose are selected for their

place in the history of jazz, or in the case of T- Bone Walker, blues. Music, above all, is what

determines if an artist belongs on Mosaic. You won't necessarily find us going for the

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

Mingus

as

well as Mulligan and Getz.

Everything you expect. And more.

Choosing the artist is only half the battle. The other half is deciding upon a historically viable concept. We want Mosaic sets to be as important, and as complete as we can make them. Our sets include every significant track that falls within the scope of a given project, presented in an organized, chronological manner usually for the first time ever. We go into the vaults of as many record labels as necessary to examine all their original session tapes. In addition to previously issued mate rial, Mosaic sets are usually rich with unre- leased tracks and valid alternate takes. It's no accident we're considered the label for fans and collectors "who want it all."

Information, photos, and more information.

To put everything into its proper and fasci nating perspective, Mosaic commissions lead ing authorities to write our booklets and sup ply collectors with all pertinent dates, person nel listings, and discographical information. Interviews and session photographs are in cluded whenever possible. Enlightening musi cal overviews are a matter of course.

The best we know how to make.

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

Limited Editions make important music into important recordings.

Mosaic sets are limited to no more than

7,500 worldwide. (Occasionally even less.) Once they are all sold we will never make them

available again

future value and historical significance of the Mosaic sets you buy. And speaking of value, that's a basic tenet of ours. Despite our virtual monopoly on the type of projects we deal in, Mosaic prices are competitive with common records and CDs. Record sets are priced at $9.00 per LP. CD sets are priced at $15.00 per CD. The booklet, the box and the service comes to you at no addi tional charge.

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We make ordering easy. And we guarantee satisfaction.

You can use the order form in this brochure to order Mosaic sets. Or simply call during working hours and tell us what you want. You'll be speaking to a member of the Mosaic

family

with VISA or MasterCard, check or money

not a 1 -800 order taker. You may pay

C R I T I C

" .most of the jazz world agrees that this type of quality recording, pressing, and packaging represents the way jazz should be documented. These dedicated jazz producers deserve our acclaim and support even if we have to miss a few meals to own the products." Jerry Atkins, IAJRC Journal

"For the serious jazz listener on your list I have two words: Mosaic Records. Headed by jazz fanatics— and historians—Michael Cus- cuna and Charlie Lourie, the company re leases sets of an artist's complete work in limited, numbered editions—usually 5,000— on audiophile quality vinyl. My favorite Mo saic, so far, is The Complete Candid Record ings of Charles Mingus. These are the sides that first introduced me to Mingus in the early '60s, and they include some hair-raising music from Mingus, Eric Dolphy, and the recently departed Danny Richmond. Included are the civil rights suite "Original Faubus Fables," "All the Things You Could Be Now if Sigmund Freud's Wife Was Your Mother," the great "Reincarnation of a Love Bird," and a mind- boggling "Stormy Weather." J. Poet, San Francisco Weekly

"It goes without saying— or it should by now after 27 Mosaic releases—that sound quality is of an excellence that has seldom been matched in the reissuing of jazz classics." W. Royal Stokes, Jazz Times

the "

Nat Hentoff, The Wall Street Journal

most careful of all jazz reissue labels."

order in U.S. currency. Furthermore, every

thing we sell is fully guaranteed. Just say the

a

even a postal-

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

botched booklet

word and we'll replace a defective record

a worn box

QUOTES

"Missing for a long time from American jazz reissues was fresh thinking, a new method, an original and consistent point of view. But these qualities, and a great deal more, have been supplied by the small Mosaic concern, which is now entering its seventh year. It was founded by Michael Cuscuna and Charlie Lourie— both with wide experience of the record indus try behind them—and until recently had no further staff, and was run from Lourie's home. The Mosaic enterprise has several unusual fea tures, each one of them crucial." Max Harrison, Hi-Fi News and Record Re view

"The sets devoted to trumpeter-composer-ar ranger Rogers (who was a leading figure in the development of the West Coast sound) and bop pianist Redd (who is best known for hav

ing composed the music for the stage play and film The Connection) reward repeated listen

ing." Robert Derwae, Cleveland Plain Dealer

"Mosaic

and prompt service unmatched in the indus

try

Gene Kalbacher, CM] New Music Review

has set standards for taste, quality,

you're sure to salivate."

"And for jazz-o-philes, the Mosaic catalogue still reads like a letter from home: witty, infor mative, and chock full of love." Joe Vanderford, Spectator

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NlOSaiC Records Brochure NO. 7: was created by Fred/Alan Inc. was written by Marty Pekar. was designed by Spot Design, pages composed by Craig Edwards.

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