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Ca Rt Ca ccd aa Peters Cd DCR The complete Capitol and Atlantic Cee Ek d Te eager eee chance” price Peso sare his brochure the {you've been in a record store lately, you may be aware that vinyl ls making somewhat of a comeback. According tothe Recording Industry Association of America, LP sales have nearly tepled in the past three years, and many ofthe mass-market record chains that phased out vny| just a few yoars ago are adding back LP sections. The good news fr vinyl fans is that LPs are easier to obtain. The bad news i that costs have skyrocketed! Audiophile pressings ~ the same 180-gram, deep-grcove, high-grade vinyl records that Mosaic calls Q-LPs — are being sold in stores for up to $28. Loyal to vinyl lovers. ‘Mosaic has been loyal to vinyl lovers throughout is history. We've ‘never released a set on CD without algo making it avaiable on LP. ‘And in recent years, through cooperative arrangements with Columbia ‘and Warmer Brothers, we've become the exclusive LP source for major cots by Milos Davie and Bill Evans, As a result, we've boon experienc: ing thie vinyl renaissance firsthand ~ we'e seling more LPs today than we have in years. While we've managed to hold the line on our $15 per disk price for more than two years, the many cost increases we've absorbed over that period are taking their tl Last chance at the old price. Rogrettably, i we want to continue offering LPe, wore being forced to raise our O:LP price to $18 per disc. The new price wil go into effect January 1, 1998, eo thi brochure ~ and holiday season ~ willbe your last chance to purchase Mosaic O-LPs at the $15 per dsc price. CD ces will not be affected. ‘A q00d place to begin taking advantage of our last chance” price ould be ournow releases, The Complete Capitol and Atlantic Recordings of Jimny Giuthe and The Complete Pacific Jaze Recordings of the Chico Hamilton Quintet. Both are available on O-LP as well as CD. Just to keep our LP customers informed: Impulse has issued its fourCD boxed set of the complete November, 1961 recordings of John Coltrane lve at the Vilage Vanguard. We'd hoped to release a vinyl counterpart (even C-LPs) atthe same time but a bureaucratic snag prevented it. At press time, we're stil not sure that wo'l be ablo ‘issue this cat, but we thought you should know of our intention, lest itaffeots your purchasing decisions. I we get the graon light forthe Vinyl edition ofthis seminal music, it should be avalable after the frst of the year. ‘As alwaye, thank you for your support of jazz and Mosaic, and i there's anything you'd like to ace us turn our attention to, let us know. (lads Cee Charlie Lourie cover: est known a8 rnc, my Gi is loa super esophont ad the rec fhe Four Bathe enue Photograph canraay oto Roy Harte PS, A note to our overseas customers about shipping. After ‘8 year's experience offering express courier options, we've learned there are certain areas that are not best served by Airborne Express. If you live in one of those areas and you've chosen Airborne Express, we will automatically enlist what we've discovered to be the best delivery service for your area. This ‘may result in a credit of an additional fee on your order (typically ‘no mote than $15). So, if you'd like to take advantage of express shipping, Just check the box marked Airborne Express - we'll take care of the rest, and your order will arrive promptly. Ce ee Part of enjoying jazz ie anaring the experiance Rs OWE A DEBT OF GRATITUDE, = Chris Albertson, Stereo Review ‘or phone Mosaic with your new aderess fo ensure that you don get “roped trom ur maling Hat he Miles Davis series of compote Columbia recordings (asued by Columbia on CD and Mosaic on LP) moves {forward with the complete studio recordings of Miles’ sec: ‘ond great quintet, thie one featuring Wayne Shorter, Herbie Hancock, Ron Cartar and Tory Wiliams. Personally ths isthe eet I've ‘boon most ooking forward to. This group was recording and performing ‘betwoen 1965 and mid-1968, atime when jazz was at an unprece- donted love of activity and creativity. And amid ital this band shone ‘above the rest. We waited for each new Milos quintet release with ‘eat anticipation. What would they come up with next? Where would they take the music? Despite the fact that much ofthis music was ‘sued out of chronological sequence ~ some of it years after the fact every bit oft always seemed fresh, now and inventive Bob Belden and| started working on this set two yeare ago and itisa rei to finally See it realized. Since details ofthe set are found elsewhere inthis brochure, lke to lay out the rest of our plans for this series as they stand at thi point in time (ie, etched in sand). In Mey 1998, Columbia wil issue a two-CD set ofthe complet ‘Miles Davis 1861 Camogie Hall Concert, which doesn't ft conoeptu- aly ito ary boxed set. Next Septomber, Columbia wil rlease a four-CD set that beging in August 1969, whon Milos recorded Bitches Brew, and extends six ‘months to February 1970, ater which Wayne Shorter lft the group and Miles scaled down his large Bitches Brew-size recording enon bios. Itis doubtful that Mosaic wil issue thie one on LP for several re: sons. With reconstructed editing of new mites, it may be impossible tokeep this set in the analog domain. Also, we're not sure that thie era of Miles wil be of interest to Mosaic LP buyers. Scream it you disagree. The complete Miles Davis studio recordings from September 1968 10 February 1969 are scheduled for February 1999. This sot covers all the recordings made after Herbie Hancock and Ron Carter ef the quintet and before the Biches Brow sessions. The three-CDVfve-OLP set wil begin with two selections from Files De Kilimanjaro and end with In a ‘Silat Way, plus an unissued session made two days later ‘The two final bores in this series wll como in 1999 and 2000. Their release order has yet to be determined, The sete are: 1) the remainder the 1970 studio sessions that produced Jack Johnson ater which Mies loft the studio for a yoar and a half; 2) al the sessions with the quintet and sextet that included John Coltrane; and 3) the 1963-64 recordings that began with Seven Steps fo Heaven and ended with Miles in Bern, Cchronicing the evolution and fine-turing of what became the quintet that we ae celebrating in the current boxed set. Along the way wil be the 1961 Blackhawk sessions, probably iaeued by Columbia as two {wo-CD sets and by Mosaic as ais LP oot With the exception of some lve '69~'70 sessions, tis will cover all the Columbia Miles from 1955 until 1970. After 8o many years ‘of haphazard releases, isa joy and relief to ee his lagacy given a ‘complete, long-view treatment, and it is an honor to be part of i Ll C~ Michael Cuscuns PSS. As we go to press, It appears as though the CD version of our Benny Goodman (MD4-148) set will be sold out by the time this brochure reaches you. Then again, we may have a few left. It's ‘2 four-CD sot priced at $64, So, f you're interested, just ask about its availabilty when you call, ns on Mosaic. You won't mocessarly find us going for the big commercial names. “THe RANGE OF ARTISTS COVERED IN THE Mosaic CATALOG IS WILDLY ECLECTIC, EVEN WITHIN THE BOUNDARIES OF JAZZ AND BLUES EXALTS WITH EQUAL FERVOR, THE ACHIEVEMENTS oF PauL DEsmonn aNp T-Bowe WALKER, Jackin McLrAN AnD SHorty Rooras. Curr Baker anp Caries BRown, Cectt Tavtor aNd Epptr Convo, Mayxarb FERGUSON AND ANDREW HULL.” Gene Seymour, Fi “M OSAIC HAS BEEN REISSUING RARE AND IMPORTANT JAZZ ON VINYL FOR OVER TEN YEARS, FROM RELEASES or ‘LesseR-KNown’ Duke ELLINGTON TO ITEMS LIKE THE ANGULAR AND EXCELLENT Complete Blue Note Sam Rivers Sessions, WHICH, LIKE MUCH OF THEIR OUTPUT, SHEDS LIGHT ON A PREVIOUSLY IGNORED TALENT.” ~ Sacha Freve-Jones, New York Pest Miles)Davic The Complete Studio Recordings of the Miles Davis Quintet: Wayne Shorter, Herbie Hancock, Ron Carter, Tony Williams The Complete Studio Recordings of the Miles Davis Quintet 1985 - June 1968 Lite to 5000 copies worldwide (0 O-LPs [MAI0-177] $180 aa ‘The Columbia CD version i vslable through Tue Blue Music February Release Replace those worn Miles Davis Quintet LPs. And get a giant bonus in the process. he years 1965 co 1968 were an undisputed classic er for Miles Davis. After years of Ron Carter, pethaps the most talented melodist Tony Williams, by fr the mor explosive and seositive musician to pick up sticks; and Herbie Hancock, a pianist who hid blended harmonic 1nd thythmic concepts to achieve a fecedom and fluidity never heard before, Together, they were ‘a siychm section tha redefined the In September 1964, tenor saxophonist Wayne Shorter came on board, He was a musician and cer uniquely suited to this band, Calke bis compositions and soloing moved in nervous, hadowy, unpredictable direction haunting and hypnotic, other times heartstop ingly bic ond assertive, the music always played with che forms of jz, cinkering with an end. Shorter was pricy suited t "The Prince of Darkness,” and completed the bund rinent individual and yer played together beings with oe mind Development for the band. And for music. The albums the Quinte released over the next thee yeas charted an extrondinary cours of Jevclopment, Ie began with E-.P,« ite that tis described how these musicians fel each other's moods and creative eneruy. One master: jiece afer another followed: Mile Swi, The Filles De Kilimanjar Order Now! Phone: 203.827.7111 A decade late, afer Miles’ music had reincar: ated ag again, more gems fom the alls such as Water Bai, Cine inthe Round and Dinctim. The new finds showed the band involved in even more experimentation than had been previously thoughe Buc even that was not al Here's the bonus. The Mosaic set on 10 Q-LPS ~ the counterpart to Columbia’ seven-CD release ~ delivers eight additional, previously wnssued alternate takes, csion whore the band works nan nated eure by Miles and two Herbie Hancock classics, “Speae Like 4 Child” and "I Had 2 Dream, Columbia Records athe time was cy about coding daes. Tis teeas finally assembles everything from he period in chronological order for an accurate picture of the band’s eve lution. In addiion, everything the Quintet recorded has been remixed for vastly improved The booklet contain history of che band by Tedd Coolman and musical analysis by lan Ca Important Notice “The ming ofthis Mossic AP etease wil depend ‘upon the release date of Sons CO st curt sened.ed for February 1998. You may place an vance order a he release-date pice ($180). Sets wil sip as soon as they become availabe Fax: 203.323.3526 + E-mall: mosrec@ix.netcom.com 2 Bill Evans live at the Vanguard - the rumors were true. Its taken 16 years for these recorcings to finally appear. And they wore worth the wait ‘Athough th hip Vilage Vanguard crowd that heard these performance consideced them to be among Evans! best ever, the ecard company did rot eease them atthe te, Now, Bill Evans: Tho Final Vilage Vanguard Sessions ~ June 1980 (Gres us all a chance to hear why fane wer raving, Evans pereonal approach to modern jaz makes im an essontal nk in tho chain tom Bud Powel Wynton Kell and Lennie Tistano to the many musicians Evans inspired, such as Herbie Hancock and Keith Jaret, Pelormances by his group ‘made for fascinating rhythmic complet, interplay nd independence; he even made familar tunes new in ways ther composers never imagined This 10-QALP set include 58 selections, recorded over thes nights, remaed and present Cd in eronologislexder. (Most recordings from the fat right, and leser third and fourth takes of same tunes, have been eliminated for audio and/or ‘musical reasons) Tho booklet als includes ner notes by Bob ‘lumentha and an appreciation by Harold Danko, Bill Evans: The Final Village Vanguard ‘Sessions ~ June 1980 imited to 3600 copies worldwide 10 0-LPs [Ma10-171] $150 AQ. ($180 after 171708) The Warner 8r08. CD version is available through True Blue Music, cae Miles Davis and Gil Evans, uncut, unabridged, unbelievable. Davis/Gil Evans: The Comet Columbia Studio Recordings 5000 copies world Ps (MO11-164] $165 A+D ($198 ater 1/1798) The Columbia CD version is available through True Blue Music. By special arangomont with Columbia Records, Mosaic is dolighted to isaue al the Miles Dass! Gil Evans Columbia sessions on our auciophile LPs, inciding 1969 and 1968 recordings ever commercially avaiable unt thie release, nike arangors who used orcheetal settings platform to “elovate az, Evan” inte ‘2 was in exploring waye to combine composed music and spontaneous playing. Mies was @ musician partculary attuned to the tumpet's asa ower to colo, shade and give cimension toa Dbackekop, he erased fom within in subti, mos rmoeeing way. Instead of using Evans! orchestra as a The sot includes master takes pus alternates from Miles Ahead, Porgy and Bess and Ske Of Spain, plus sk tunes recorded for the Quiet Nights album, three recorded with singer Bob Dorough and Wayne Shorter (wo years bere Wayne ofciay joined Miles band), compositions for pay that were never used, and a previously unissued composition rom 1968 with quintet, ‘wooduinds, bras, mandala and pedal ste! guitar! The bookie includes essays by Bil Kirchner ‘Bob Bolden and original producer George ‘Auakan, an annotated dlacography by reissue producer Phil Schaap, and photograps from the actual sessions ‘Tiple Grammy Winner! + Relssue of the Year + Best Liner Notes. ‘Best Album Package (Columbia CD version) “Best Reisue of the Year" = Down Beat 1997 Critics’ Poll “Like any good thing ~ and in the realm of recorded jaze there is litle better = this boxed ser was worth the wait.” —Bob Blumenthal, The Boston Globe “This set isa jazz fan’ dream... [But] any music lover can have fien prowling through this musi: its not often, after all shat you get a chance to wach two geniuses con structing masterpieces.” —Maleolm Jones Je, Newsweek “Among. the finest testaments to the mar riage of composition and improvisation in jaaze are the collaborations produced by Miles Davis and Gil Evans for Columbia Records in the late 1950s and ‘60s Loren Schoenberg, The New York Times Most of the emotions sriggered by the best jazz are abstract: the hair stand up on your ind you shiver alittle. But Davis, fod bby Ewan, is telling you, in his monoslabie neck, suay and with his long; vibratoles nots about his lif, about how sad it has been, about how be pities himself He is no ling yore how adits to be black; be is telling you how hard i is tobe Davis, and Evans, constantly underneath and around, never stops nodding, ‘Yes, ys. That’ the way it is Whitney Balliew, The New Yorker “Limited to 5000 copies worldwide, when it gone, youll kick youre for missing out on this treasure, which is sure to become a collec- Michael Fremer, The Tracking Angle The A or B that appears after each record number indicates wheter LPs have been mastered trom Analog or Digital Masters. Q indicates O-PS Order A Miles missing link. ‘Miles Davis ~ The Complete Plugged Nickot Sessions Limited to 5000 copies worldwide, 10 Q-LPs [MO10-158] $150 AQ ($180 atter 1/1798) The Columbia OD vorsion is available through True Blue Music Eyewitnesses tld stories for years about an incredible 1985 gig al the Plogged Nickel in (Chicago. With his amazing new quintet of Wayne ‘Shorter, Herbie Hancock, Ron Carter and Tony ‘Willams, Mie Davie had already begun recording studio tacks that would change the face of azz But Mies was reluctant to abandon hie 1950¢ ‘0 tin concen. On Docombor 22 and 29, tho ‘uinle’s modern ideas brought new excitement to the lamar repertove. ies Davis ~The Complete Purged Nickel Sessions marks the fist tne this history makng ‘et has been avaiable ints entirety. ln preparing the Mosaic O-LP se and the comesponding CD et for Columbia Records, wo worked wit source reels not known to exe, and ecovered trumpet, tenor and pian sols that had been edited very previous release, Now tunes run longer by ‘one te to minutes and a tenth ea ful 10 mites longer. Mosaics version wil be the only one wth ‘4 lavish, large-format book! which inches rare photographs by Lee Tanner and Francia Wolf, “Fortwo inspired nights in Chicago in 1965, rumpeter Miles Davis presided over some ofthe most sublime music-making of his carer. —Howard Reich, Chicago Tribune Order Now! Phone: 203.927.7111 203.327.7111 REVIEW Mosaic Records presents Miles Davis at the Plugged Nickel. ‘The Whole Truth and Nothing But (Finally). by Elliot Kallen Irs summer 1964 and Miles Davis noads eax player After the bold excitement of 1959's Kind 0f Blue, Davis had lost the bandmembers, John CColtane and Bil Evans who best understood its Conceptual mplcatons. For a fow years it soomed ‘as though Davis foray into modatem was to bo the briolat of encounter; hie new quite, hough playing fine jz, was essential regressing into ‘more familiar bobop based territory In erly 1964, Davie bogan putting together 1 completely new quintet. Bassist Ron Carter ‘was hired in early 1964, Drum phenomenon Tony was brought aboard, s00nfolowed by a 23-year-old Herbie Hancock on piano. Wiliams, using a huge palette ‘of col and poyrhythms,ngpired and reenerized Davis. Hancock's davng blend oftochnique and cexpermentation melded with Willams’ plying in ways that lft even Davi dazed, His only problem was the sax chai George Coleran had held the position for more than a year, but was getting increasingly uncomortable withthe recon the “ew kids” nthe band were taking. The music was oling nightly. becoming less i. Coleman ‘nas the odd man out and Davi gave him notice. David had boon ting to hire Wayne Shorter Iroinly a the behest of Waliams and Hancock) Shore's obligation to Act Blakey's Jazz Messen {ger kept this from happening. Suddenly nate summer 1964, Shorter was tree. Davis immed stely invited hen to join the band, and even pai Willams, not yot out of hie ten the plane fare to bring him to New York ‘Shorter was jst boning t find his oun voice, ‘unique sythese of Sonny lis’ ical stony telng and the jagaee angular ies of ater Colrane His compostions wore bik he on — inure ‘of sure anc depth He waste ising piace in ‘avis pure The eet on the group was med ‘ae, Esoluton gave way te reveiten. Everthing was fai game and though the band was easentaly playing the same tunes, a song ike “| Were a Bel” was almost unecognable tram one right to the next! They recorded the LP ESP for Columbia in January 1965, the file a divect reterence to the group's rappoct Unfortunately, jut the band washing its stride, Davie’ health problems brought things to a hal He went into th hospital for an operation on his dagenerating hip in Api 1966. It wasn't unt "November, at New York's Vilage Vanguard, that the group performed togethor again ‘And the fc was stil hor! Thoy booked a wornight stay atthe Plugged [Nickel in Chicago, a regular stop on Davis’ US. Fax: 203,23.3526 + E-mail: mosrec@ix.netcom.com tours. Columbia showed upto record the portor ‘ances, eager to get more of the new quintet on \What occured on the nights of December 22nd and 231d th stu of legonds. The group war at ‘8 oreatve peak. Davie was letting the young turks take the music even further outside” and he avy followed, Th set it wae clasic “Stola by ‘Staright: "My Furey Valentine”; *On Groon Dophin ‘Street’ "Autumn Leas"; "Four"; "Walkin®; even “Round About Midnight” Dav trew n moro recont ‘nes ke “Agitation and “So What but even these underwent majr surgery onstage The audiences went crazy; the cities were fabbergasted ‘Ad than or some reason, Columbia decided againet releasing the music. But the fans had heard ithe erties had hoard i. and word spread fast For year, the tapes anguished in Columbia's vaults Unilin 1976, Columbia's Japanese counterar, (CBS/Sory released two albums of music n ited ection Japanese vy. a 1982, Columbia finaly put more ofthe Pugged Nickel material nto circulation in the United States. More than 10 years passed before a severrCD set was isued in Japan, again 2 limited edition, puporing tobe the “Complete Plugged Nickel" music (some solos had been deleted). ‘Now a ct, ALL the musi played tho3e two right i avalabe, nd we have Michael Cuseura sd Chat Lourie of Meese Records to thank. They secure the rots to relaee the Plugged Nick! ‘asic, and on VINYL! (The regar CD role ison Colunbia) Miles Davis The Complete Plazged ‘Nike! Sessionsis a 10-LP set rested on 180- {1am vinyl, and remastered rom the orga toe ‘chanel master tapos. Tho sound i romarkably improved over tho 1976 Japanose issue. Obvious crophone oveoads, partly from Davi rune et have boon reduced, as havo some lessor, but ‘equal anoying dstorions of time. The beaut ‘okt that accompanies the sts, a work of ar The music is presented in oder of performance, ‘as it happened almost 30 years ago, alowing the stoner to appreciate how gome ofthe tunes wore reinvented inthe space of only 24 hours Final, i'll hore ~ tho explosive driving rythm section; Wiliams propaing the group fom one surpring change-up te another; Hancock shiting from bistoing rome slo ines to Debussy ike chordal colors m8 heartbeat; Shorter dining above ital playing only the exact ight note at the-xact rightime; Carter somehow kaeping it al fom surendering to chac: and Mies, soaring, eabbing, leaping, suspending time and stoning the wneroe ‘8 one could. Someta a legend Toe up to the hype ad actualy exceeds your expectations. | ced ‘when heard ths music Copyright 1995 Piay magazine (formerly Audio Adventure). Reprinted with permission. Alfred Lion’s last great passion: Andrew IMax0-161), Unt the day he ded, Alred Lion, the founder of Blue Note regarded Androw as his last groat so INFORMATION, PHOTOS lee yore AND MORE INFORMATION LLintlad to 7500 Goptes werlawtde The mystery is how did these records get so litle ‘To put everything into 6 CDs (M06-137] $96 satice when the music on them is impossible to and fascinating pede overlook? we commission From 196 to 1966, Jackie MeLean recorded 1964 session for Grant Groon's ‘anang his frest work, and sehen nacre Talkin’ About that producer Alred Lion heard in most interesting forthe symthesis rerearee Or cette castes, | Lary Young not uta Jy Smith clone, but a toirg bassoon te bebop bo grew up chyna seepage, thoroughly modern Caltrane-iafuenced veice on (with Parker, Powell and Monk ater with Mi hilophasiece tho aosee the organ. Fie, swing, chops, orginlty.Lamty Mingus and Blakey) and the now tee-orm, expr: etied Gheootatise Young had tl, and two months later he was imental jaze that enivened everything. But for ome Enlightening musical ansiysis I= recording his frst album as a Blue Note artist. reacon, only three ofthe sescione were intially matter of cours In November 1965, Lany Young's post Smith released. The ethers were held in he vaut for style exploded on Uniy, featuring Jos Henderson cover a decade betore appearing “Tue nooxter THAT on tener, Woody Shaw on trumpet and Ein Jones ‘The sessions included drummers Bly Higgins Rcocupeeree ee ere on drums. That album, pls a sting of Blue Note Jack Dolobnatte, Lee Morgan or Charles Toler Con trumpet, vibst Bobby Hutcherson, pianists ary Wil, Herbie Hancack or Harold Mabarn seniis SEARS bE ee follow-ups, would cinch Young's place in jazz history a8 the most influential jaz organist of hie PeAPAD SAD AE generation, and the next and bassats Coc MeBoe or Don Moore. You To THE MUSIC AND MustcIANS This si-CD oF nin-LP set includes Lary could assemble musicians with fresher ideas, 1r pescrines.” Young's total Blue Note output a a leader, and wider range or more vibrant epi Mort Fega, The Palm Beach Post as a sidoman with Grant Green. The bootlet Topping it al of are Jackie's coos: coherent includes a biography by Michael Cuscuna an sharp personel statements, beautiful fashioned ‘mary previously unpublished session photographs and complet, a2 rav and relies as the times. by Francis Wolf, This isan important perod inthe long career of aes, ‘The barvier-breaking aural adventures The booklet i by tho late David Rosenthal author of Hard Bop, with rare photographs from ins by Francis Wolf in the history of music of one of the mast important ja the original ~ Michael Point, Austin Ami Statesman The A or B that appears alter each record number indicates whether LPe 7 have been mastered tom Analog or Digi! Mastrs. Qinccates O-.Ps The “Shearing Sound” never sounded better than it did live. “Unprecedented musical excitement.” — john Hammond Producer John Hammend described hie goal 1 original ner nates from the early 195 “There was once a time th session’ connoted the ultimate in improved ze perform after hows, paying sity for thor own, not tho the gathering of great musicians publ’, pleasure. Today the expression too often means a paid publ shindig whore cont pay musicianship and exhibitionism reign supreme, “With the release ofthese Buck Clayton sides, «jam session’ again becomes a rare and wonder fulerperence, The coalescing force ..was that mainstay of jazz so often missing in organized bands: sures Thanks fo then-modera tape recording and the new long-paying discs, musical ideas devel coped a8 naturally a8 when no microphones were present. In Hammond's words, the unprecedentas musical exctoront Every complete take ia here from Buck's six one, including previo, uniseved ator cited cut restored to its ‘original form. Musicians include Joe Newnan, Ruby Bra, Bennie Green, Tummy Young, Juan DDash, Coleman Hawkins, Al Cohn and others ‘The booklet, written by Dan Morgenstern, contains photographs ftom the actual sessions. Order Now! Phone: 203.327.7111 Fax: 203.323.3526 + E-mal At last - the rest of us can hear the Master Jazz solo piano sessions. Inthe 1960, meitorder jaz label called Mastor Jazz gave some of Amerie’ great swing and stride pianists he opportuty to mmoralze ther at One by one, ke ds were brought into the ‘studio and encouraged to play whatever they wanted, For som it was a fest chance to record under ideal conditions. Fr other, it was a first and only chaneo to recor, pviod. Say performancos wore recorded by Ea Hines, (Claude Hopkins, Clif Jackson, Jay MeShan, Teddy Wison, Sonny White, Cilf Smalls, Si Charles Thomson, Keith Dunham, Gioca Hear and Ram Rares, Urtimately, fou volumes of Master Jaz piano US, 28 well as ‘Ramirez album from the same sessions and a fith Master Jazz pano LP that was bi aval able ony in Australi, But due tothe very ited dstrbution the label received, the albums were hoard by precious few. recordings were released it Now these immensely important recordings ‘are rescued om obscurity on ths four CD or si LP set. The bookl inclides reminiscences by Master Jazz founder Bil Weibacher, notes by Nat Piorce and rare, crgial session photographs, ‘The Complete Master Jazz Piano Series 4 COs [MD4-140] $¢ LPs [MR6-140] $60 A. “Solo piano establishes an intimate rapport between performer and litener..throughout this sex, the performances are inspired and aptivating Patrick McCarty, Richmond Times Dispaach mosrec@ixnetcom.com ‘The Complete Capitol Live Recordings of George Shearing Limited to 7500 copies worldwide. 5 COs [MD5-187] $80 O-LPs [Ma7-197] $105 Aa ($126 after 1/1798) Audiences had never heard anything tke his ‘sound. The right hand clustered chords around the melody, the lft echoed the line an actave lower Then, vibraphone and guitar doubled ‘one in he higher regitey, te other nthe lower. Tho unusual voicing gave each noto deeper hue and fulinese. George Shearing’ immense populaty around the word made his every performance an occa son, and Capitol recorded five of thse dates. (On the original tapes were 14 provousy unis: ued tacks, including an entire album worth of ‘material featuring newcomer Gary Burton on vibraphone, Hear forthe ret time anywhere ve: sions of Bobby Termonss "Moanin ‘Wiliars' "Lonely Moments" and Horace Sive's ‘Room 608 The recordings span 1958 to 1963 and inclade (in ation to Burton) Emil Richards Waren Chiasson, Toots Thelesans, Al McKibbon Gene Chenica, Vernal Fourier and Amando Peraza. The bookie includes a complete dcog raphy, unpublished photographs and Dick Kat's liner notes. Mary Lou “A wonderful collection of w ork by a remarkable artirt whose creativity remains undiminished. = Chris Albertson, Stereo Review REVIEW George Shearing: Substance and ‘Sophistication by Chris Albertson rst discovered George Shearing on a 1941 Engish Decca release wihere he played boogie: ‘woogie tunes of the day ( befeve one was “Beat ‘Me Dad, Eight to tho Bar’). But most poopie ‘more accurately associated Shearing with a gon to, sophisticatd for of jazz t was a deca, propistary style that frst endeared the English pianist to American aucionoas in 1949, when his MGM recording of “September in the Rain” put him onthe map. Shearing’ octaves played in ui son wih his vibst gave the group is signature sound, but thera were ather major ingredients rnotleas the leader's block-chord technique and tuning improvisatory ski By 1950, Shearngs records were ringing cash registers. But popularity has its price, and the jazz press was quick to accuse him of commercialism, “Ws amusing” Shearing once told me, “because | was playing the same music that had previously listed ther praises ~ the on lilorence was that my records ware now saling very wel” Sti, by 1954, when he signed with Capito, Shesrng's ‘r0up wae one of he most sought ale attrac: tions on the concatcizcut. His ability to interact wath an audience wes as smooth as the group too and the ve recordings he made on the West Coast from 1988 to 1963 have now boon gath red into a limitodeove bored sot by Mosaic. Listening to the nearly five hours of music here, ‘one understands why a purist element regarded ‘some ofthis highly eccossible music as border- ino jazz: At timos it conjures up the image of martinis and manhattans being sipped in ios Cocktal lounges. But most of those selections Contain a heathy measur of he kindof substance that has earned Shearing his place inthe jazz firmament. We abo hea freshman performances from Gary Burton and Toots Thelemans, both cof whom have since done rather scaly on thet own, Yes, here area few tracks that would have been omitted if not forthe word “compat in the so’ fie, but his ig nevortoloss a wonder collection of work bya romarkable artst whoce cratvtyromains undiminished Copyright 1997 Chris Albertson. All ights reserved. Reprinted trom Stereo Review, Apit 1996, wth permission. RELEASES ARE MAJOR EVENTS.” = Scott Acon, Jaszie Teddy Wilson Trios. The most important pianist in swing, in the ultimate setting. ‘The Complete Verve Recordings of the Teddy Wilson Trio Lites to 7500 copies worktwide 5 CDs [MD5-173] $80, 8 0-LPs [M08-173] $120 AQ ($146 atter 171798) {share 10 imagine one career incucing such Important associations as Teddy Wilson's, whose alliances with Bille Holy, Benny Caster and Benny Goodman produced many legendary recordings. But the setting to which he'd return ‘again and again and the one that best enabled hi to expeoss hie arto, the to. Witon was the most important pani in ‘swing. Idees flowered under his nurturing ouch, ‘You ston for tho igs —aftor a thie impr ‘sod musio ~ butt nover comes. With each tune he could introcuce 8o many separate thoughts, clover, clear and complet, and, ike a brant speaker, make each one relate so naturally to what came belore and what flowed For the fis me on CD and audiophile QAP, Mosaic presents al eight rio sessions Won recorded for Verve betwoen 1952 and 1957, including his ve sot rom the 1987 Newport Jazz Festal. Addktionally included are an eight une session trom 1954 with Mit Hinton and Sticke vane, previously iasued only in Japan, and 8 1887 session recorded in Ontario, Canada that has never boen heard on record at al ‘The same qualities of talent and empathy that made him a consummate Wo pans, soloist and singer's accompanist aso helped Wison tract the best sidemon. The Verve sides are no exception. They include such top names as basics John Simmons, Arvell Shaw, Mit Hinton and Gone Ramey, an drummore Buddy Rich, Dena Best, J.C. Heard and Jo Jones. ‘The booklet features notes by Loren Schoenbera, who was both a fend and student of Wilson's rel ARTISTS BECAUSE OF OF AMERICAN Music. ‘THE COMPANY OFFERS OF LESSER-KNOWN ARTISTS INTERMINGLED WITH Ar Mosaic, Tina Brooxs SERGE CHALOFF AND Woopy SHaw ARE REGARDED ON EQUAL TERMS wiTH ARMSTRONG, Baste anp Cote.” = Donna Speller, Tidewater Jase Seciety ow. LIST OF viNyL aND CD nox 1 Mosatc’s Lone SETS, ALL INCOMPARABLY DOCUMENTED AND SONICALLY WONDERFUL, THE IMPORTANCE HAS BEEN RIGHTFU RECOGNIZED.” ~ Andrew Bartlett, Earchot J The A orD that appears ator each record number indeste whether Ls ‘have been mastered trom Analog ar Digital Masters. Q indents O:(Ps Order Benny Goodman, off stage and out of the spotlight. ‘The Complete Capitol Small Group Recordings of Benny Goodman 1944-1955 00 cop! (-LPs [MQ6-148] 90 A Throughout his career, Senay Goodman achieved his most popular success wih bg bands, but small groups gave him the freedom to solo more ly and more expressively. The small group sides he began making for Capitol in 1944 were no exception. Contrast the classic, note pettect ive orchosta periormancoe ram the period with this eis o re-blowing ewploraive recordings, Tro dats feature piansts Jimny Rowles and Teddy Wilson; soxtots vibist Red Nowo, guitarist Al Hencickson, parst and Goodmarraranger Mel Powell and others and a unique, tree-tune tenet session ads CChatie Shavers, Beony Carter an even a vocal from Sten Keeton de ‘Some years later, Goodman experimented with poppers Wardell Gray on tenor and the brillant trumpeter Fate Navarro, And while helt Capit in 1948, Goodman rtumed in 1954 with Mel Powel, Charte Shavers, Ruby Bra a Lionel Hampton t record the Goodman classica B.G in HiFiand The Benny Goodman Sto ‘The 88 pertorman teatro 12 that have never been heard before and 14 that never made itto 12" LP. Only 14 have ever been available on (CD anywhere in the wold. The booklet was vit tan by Loren Schoenberg, Goodman's archivist ‘musi! calaborator and tend Order Now! Phone: 203.327.7111 203.327.7111 ‘Proof that the great small-group Goodman ned to the 1930s. R.C. Smid wasnt conf Durham Morning Herald This is one of Mosaic best recent issues, almost on par with its rge Chaloff set = S.RB. Iyer, The Columbus Dispatch st widely held opinion, Goodman he 1947-48 twas il at his best during pevied when mos ofthese macks were recorded and many people who thought brim then tobe in decline will, like me, have their opinion of tis particular Goodman era reversed by this collection. Iu many 1 his sophisticated approach to his material was better than in earlier years and his technique at its most crisp. Steve Voce, jaze Journal International EARNED THE RIGHT TO PAT ITSELF AFICIONADOS THAT YOU CAN ALMOST HEAR CHEERS GO ReISSuES, WHERE ELSE WERE YOU PACKAGES DEVOTED TO GREAT suc as ANDREW Hitt, Tina Brooks, Hersie Nicuois ann Don Cuerr = Lloyd Sachs, Chicago Son-Time Fax: 208.323.9526 + E-mail: mosrec@ix.netcom.com MAIL-ORDER Mosaic RecorDs THEIR SETS ARE ONE PERIOD OF NOTES AND PHOTOS Lag Th Highpoint Perris! contain tho same music whethor you order your sets on CD or LP. (not 2 scaled-down CD pamphlet). “THe COMPANY’s PRAISES Ty was rHE HicHest QUALITY AND AFTER-SALES SERVICE. 18 INVARIABLY INTELLIGENT. Its pouicy = Steve Voce, Jaze Jonrmal International 0 NO LONGER AVAILABLE « Aurover I Now HAVE EIGHT Mosaic sets, I STILL LOOK LONGINGLY AT YOUR ‘No LONGER AVAILABLE’ LIST AND WISH I'D HEARD ABOUT YOUR EXCELLENT COMPANY EARLIER."- From a customer in Stockport, England Mosaic Sots No Longer Available: 101] The Complete Blue Note Recordings of “Thelonious Moni [102] The Complete Paci Jazz and Capitol Recardings ofthe Original Gery Muligan Quartet ‘and Tenttte with Chet Baker [108] The Complete Blue Note Recordings of ‘Alber Ammons and Meade Lux Lewis 1104) The Complete Blue Note and Pace Jazz Recordings of Ciford Brown [105] The Complete Pace Jazz Small Group Recordings of Art Pepper [106] The Complete Bive Note Recorngs of the Tha Brooks Quintete [107] The Complete Blue Note Fotos Recordings of ke Quebec and John Hardee [108] The Complete Recordings of The Pos of Hale Jazzmen [109] The Compete Edmond Halldames P. Johnson/Sicney De Para/Vic Dickenson Blue Note Seesions [110] The Completa Blue Note Recordings of Sidney Bochot [111] The Complete Candid Recordings of (Charles Mingus [1121 Tre Compete Biack Lion and Vogue Recordings of Telorious Monk [113] The Complete Pacific azz Liva Recordings ofthe Chet Baker Quartet with Russ Freeman (114) The Complete Art Hodes Blue Note Sessions [118] The Benry Morondiemy Hamiton Bive Note Swingtts [116] The Complete Bud Powell Blue Note Recordings (1949-1958) [117] The Complete Verve Recordings ofthe Buy DoFranco Quarte/Ouintt with Sonny lak " LIMITED EoITION couecri Mosaic sote are limited eaiions. ‘Once they sell out we wilt ever make them aveileble «gain, ng immeasurably to the bistorieal significance ang tuture vate of the Mosaic sats you buy. “Brcausz Mosaic 185vzs onty LIMITED EDITIONS, YOU'VE: ALREADY MISSED A THREE-BOX SET CONTAINING EVERYTHING EVER REconDED Fon Commonons RECORDS, THE COMPLETE BLUE Nors recorpinas oF TuELoNtous Mor, THe comptate Pactrrc ~ Jazz anp Caritou RecoMDINGs: or THe onrcinat Gunny MULLIGAN QUARTET AND TENTETTE wiry Cuat Baran, THR COMPLETE CANDID RECORDINGS OF CragtIB Minous, AND MORE THAN 30 OTHER TREASURES THAT WERE QUICKLY SNAPPED UP... Oven THe veans, I've sovGHT 16 Mosates, aND mY ONtY necurr 16 | Dow’r own mons.” ~ Steve Emesine, Jasibeat! [118] The Complete Blue Note Recordings of Herbie Nichols [119] The Pete Johnsow/Eat! Hines/Teddy Bunn Blue Note Sessions [120] The Complete Recordings of he Paul Desmond Quartet wih Jim Hall [121] The Complete Blve Note 45 Sessions of Ike Quebec. [1221 The Complete Pactic Jazz Stcko Recordings of the Chet Baker Quartet with Russ Freeman 1123] The Complete Commodore Jazz Recordings, Volume | [124] The Complete Bive Note Recordings of Freddie Redd 1125] The Complete Alanis ard EMI Jazz Recordings of Shorty Rogers [126] The Complete Johnny Hodges Recordings 1951-1955 127] The Complete Candie Recotsings of Cel Taylor and Boal Neitinger [128] The Complete Commodore Jazz Recordings, Volume I {130} The Complete Recordings of Fone ‘Walker 1940-1954 131] The Compote Recorcings ofthe Stan {Getz Quintet with Jimmy Raney [132] The Complete Blue Note Recordings of George Lewis [133] The Complote Blue Note Recoxdings of Grant Groen with Soony Clark [134] The Complete Commodore Jazz Recordings, Volume I [136] Stan Kenton; The Compete Capitol Rcordings ofthe Holman and Russo Chars [138] The Complete Capitol Recordings ofthe Nat King Cole Tio [130] The Complete Candid Otis Spann Lightnia’ Hopkine Sessions [141] The Complete Bive Note Recordings of At Blakays 1960 Jazz Messengers [149] The Complete 1959 CBS Charles Mingus Sessions [145] The Complete Bive Note Recordings of on Cheey [149] The Complete Rouicte Stusio Recordings of Count Basi and hie Orchestra The A er D that appears ater exch record number indicat whether LPs ‘have bean mastered rom Analog of Dig Masters. Q indicates LPs Order You can find Amos Milburn’s influence everywhere. Until now, you couldn't find his recordings. ‘The Complete Aladdin Recordings of ‘Amos Milburn Limited to 3600 copies worldwide. 7 COs [MD7-155] $112 10 O-LPs [MC10-185] $150 AD @ ($180 after 171798) ‘When he ded in 1980 he was broke ~ a sad ond fora man who in 1949 was Billboarls biggost sling RAB antist and someone who was used to thing auefonces with i joint jumping bounce. He could sing ary sya, rom blues to jazz ‘But it wae usualy sheor boogie woogie from the arts down. He took the boat tom Abert Anemons ‘and Meade Lux Lowis and rocked itharder and ‘blur, added the vitality of Louis Jordan's jazz inflected RAB, and emerged as something of his ‘own creation, You can ace a direct line from the boogie woogie masters though Amos Milburn to easy rock'naller Fats Domino, who considered Miburn a ral hero. That important cng hie recordings today is lost mpossil, but al 145 performances he recorded for Aladin ‘over 31 sessions are collected in thie Masai st. Twenty-one tracks are previoulyuniseved and any more have never been issued on LP oF CD. ‘The booklet includes @ newly rscarched biogra phy by Jooeph F. Laredo and session Iner notes by Mark Humphrey. Order Now! Phone: 203.827.7111 203.327.7111 REVIEW Blues, Broads and Booz R&B pianist Amos Milburn got mighty Tow down. by Miles Jordan twas 1959, and | wae ivng in San Francie ‘and frequenting Jack's Rocord Cola basement ‘shellac and-inl emporium jst around the enor from the Haight Strat Bar8-Que. used to hang ou ere, to, pray often 10 Jeet “Lane Ca” Ful, oneravband masisan ‘who'd core over ram sland, where he lve ard ‘worked runing ajackhare, evn though he was in is 606 He'd oat up ie nctumonts in ho restau rant’ backroom, and the young lacks who'd been {eccing quarter int the jukebox woud ade ot the oar when it was tered of so Ful’ sal aud ence coud hear hen, ‘But thats archer stor. Back o Jack's Recor CCatar andis unique over, Norman Perce, who'd bough the place years lee from a guy remed ck and never had gottn around to changing the pare. Pero had been a merchant oars in his yout, end n between spinning record, answering ‘hone requests for abscure 19208 7s and saling -45 RPM his ofthe day to neighborhood kid, hol ‘egnle whoever was preont with aes of dorrngydo ‘on the high sags and the low dives fund inary por. (One day, a a fend ae war in attendance, ho ‘was plying a record (probably one we'd askod fe) thon took of the treble in midoong, saying “Enough ofthis $3.98 bul time for seme $1.98 honesty” and slapped on an Amos Mibu album, ‘As coon a tho fist sain of “Les Have a Pay” blasted out ofthe speaker Usck's was esoiely ‘mane and goof cours, wa the recor, halle eld” An thus bogan my iataton with the music of Amos Mibum and his Aladsin Chicken ‘Shockers, Miburn was just 19 when he ha his fst ht with ‘wo songs corded at hi fist seasin in 1946: “Aor Midnight rele ves done a Charen Brown, and an uptempo version ofthe Wil Bracley/Ray McKinley Band boogie wooge hit, Down the Road Apiecs" Along wth the occasional bald these were the hallrarks of the mliuous Pianiat's 10-year earor with Aladin, now tly ocumonted on Mesa Recor’ ecolntsovenr (CD eet, The Complete Alan Recordings of Ames lr, Pror to thi, ie music was oly avaiable ‘on that laden album Fd bought (and had severly ‘ined at dazens of pares) on 2 1978 US. LP and ‘few French and Swedlsh albu that came out inthe 90s Fax: 203.323.3526 + E-mail: mosrec@x.netcom.com There so0me tobe more interest of late, how- ‘or: You can fed Mibutn's music on EMe ‘26-track Down the Road Apiece (1899) and a foue-CD Japanese set. And although he wert on to recordin the 80s and 70s, the heart and soul cof Mibu i to be found in this Mosaic collection. ‘Aterhours bles and uptempo boogie woogies ‘wore Miburn's meat and potatoes, and, with an ‘ccasional ballad a a tasty side dish, that's what he oflered upto an eager puble. His biggest ht was 1950's “Bad, Bee Whiskey” which reached 1 on the RAB chants; that led toa sere of alco hobrelated song, one of which, “Good, Good Whiskey! found him touting ia paliative for ‘a broken heat Miourn's main man on most ofthese 148 elections (only 21 of which wore unissued unt now, and only two of which ae second takes) ‘was tenor saxophonist Maxwell Davis. Davi! smooth obbigatos onthe slow goods and inspired bowing on the faster boogios set tho ste for Miu’ own hommen when, inthe fl of 1949, he formed the Chicken Shackors ~ named ater his signature pice, “Chicken Shack Boogie! (That une, by the way, was fet recorded in 1947, then done up even hotter in 1958 at Mibur's enutmate session forthe label in New Orleans, With Lee Allen's tenor 8% fanning the flames even higher) Tis collection is ful of rane tales of need ing a woman, missing a woman and - some times finding a woman, The jvey“iterDug Fashion Parade" epitomized othe joys: “Every bodys hare from all over town, gettin’ real high and mighty low down’ Hot boogie woogie give ‘way to co9! ballad, alo them impeccably reakzod by this suave pianist with some of the smoothest pipes around, ‘After couple of strokes curtailed his career in the "60s, Mibum moved back to Houston (utore he died in 1980 at age 2), got religion and gave up chnkng, His marry is well served by this outstanding sot, whic i also avalablo ina 10 LP coniiguraton. ‘The accompanying books is LP-ized (Le. no ‘magnifying glass needed) and contains a wealth ‘of information. This gote my vote for he best boxed set ofthe year! Originally published In Chico News & Review, Apri 20, 1995. Reprinted with Permission.