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NOW FOR THE FIRST TIME YOU CAN SEE, OWN AND DISPLAY JAZZ HISTORY IN THE FORM OF LIMITED-EDITION, MUSEUM-QUALITY FRANCIS WOLFF PHOTOGRAPHS. ABOUT THE FRANCIS WOLFF COLLECTION obody has ever documented an era more lovingly. or more thoroughly, than Blue Note founders Alfred Lion and Francis (Frank) Wolff. The era that they chronicle : the inception and rise of in America. was the music. He recorded a staggering array of seminal jazz artists from 1939 through 1967. Wolff's contribution to history was more subtle but n . Using a hand-held Leica or Rolleiflex camera, he too recorded every Blue Note artist for pos- terity. Yet Wolff never considered himself an archivist. He took pictures sim- ply because he loved doin the days of 78s in pl paper sleeves, before there appeared to be any use for his photographs, Wolff and his camera were a Blue Note session. Whether attempting to fade into the wallpaper, or blatantly seek- ing out the combination of light, angle and sion to capture an artist's spirit, Francis Wolff never mis opportunity to indulge hi life... mu Even du ed an two passions in : and photography, of the LP, a new oppor- novation arose, and 300 of Francis Wolff's jazz photographs were artfully cropped, integrated with typography and given nmortality as Blue Note album covers. More than 5000 others went into a file never to see the light of day in any shape or form until Mosaic began pub: lishing a few of them in its booklets. drawer... UNCOVERING A LOS TREASURE Wolff began his career as a photographer, but once Blue Note was under way he found himself inundated with racts, 1 the day ing record la finances to-day operation of a ered photogra- himself a record executive first, 3 pher only as a means of supplying Bh Note ri exhibi ses with cover art. The idea of ng. or compiling a book of his photographs. was never given nsideration. unpublish serious ¢ With his death in 1971 Francis Wolff's entire collection of priceless photogray went to his Blue Note partner and child- hood friend, Alfred Lion. For couldn't bear to go near them, Tt was when Lion formed a warm friendship with the principals of Mosaic Records that f the original Blue Nc ly became aware that this treasure ears Lion only e outside trove of Francis Wolff photographs still existed. After Alfred Lion passed away, his wife, Ruth, turned the photographs over to inistrate. We at ing through the wealth Mosaic to organize and ad Mosaic spent days of visual images. Here were literally thou- sands of never-before-seen photographs of everyone from Ike Quebec and Sidney Bechet to John Coltrane and Andrew Hill. The photographs most appropriate to upcoming Mosaic reissues of Blue Note ses- sions have been set aside for that purpose. Many of the rest will eventually be pub- lished in a long-overdue hardcover collec- tion. And three of the most striking and historically significant photographs are now being made available to jazz lovers and art collectors the world over in two limited edi- tion configurations as the first offering by our new offshoot, Mosaic Editions. ABOUT THESE PHOTOGRAPHS Each of the three classic Blue Note album cover photographs we've chosen to launch Mosaic Editions with will be instantly rec- ognizable, and have special significance. to every long-time collector of jazz recordings. “Frank, you're clicking on my record!” ALFRED LION, DURING A BLUE NOTE RECORDING SESSION, CIRCA 1956 THE COLTRANE LEGACY THAT GOT AWAY Jazz lovers have oral agreement Lion paid Coltrane a small meee wondered forover — on-the-spot advance. But a short time later 0 yea what Coltrane was offered a firm written con- if John Coltrane tract with Prestige, and he signe All had signed with might have been lost for Lion if ‘ane Blue Note of F it almost ha pened. Up at the Blue Note offi idney Bechet records, Coltrane deal by Alfred instead hadn't volunteered to honor h Well, ment to Blue Note and record one album for the label. up son iantly conceived and executed Blue was offered a reed Lion Po only ev » Note/Colt have sounded and lc photograph, taken Septembe i severely cropped for the album cover. The ph as released by Mosaic Editions er been shown to the public Edition limited to 50 numbered and authenticated custom-processed photo- graphic prints and 3000 numbered photo graphic reproduction posters worldwide THE FRANCIS WOLFE COLLECTION JOHN COLTRANE CAPTL JRING A COLOSSUS In 1957 Sonny Rollins was a busy man at the top of his ga In addition to winding down his stint with Max Roach, he was playing in the Miles Davis group, forming and his first band as a leade four Blue Note albums th; establish his rey would further ie on as one of the time masters of the tenor saxophone. ‘ording the It's safe to assume that Francis Wolff was fat the April 1d session for Sonny Rollins Vol. what 1957, all Blue Note ses: place in the living room- tt And here, asy hims Like took s of that er optometr Geld: nh leading Thi Johnson, Horace Silver. ‘ophons cords, was Roll Chambers and Art Blakey into ja: The pensive, moody shot of Sonny Roll used for the album cover showed him in a relaxed moment, between takes, in Van It is unquestionably on cis Wolff's masterpieces Edition limited to 50 numbered and authenticated custom-processed photo. graphic prints and 3000 numbered photo graphic reproduction posters worldwide of SONNY ROLLINS JUST A DRUMMER? THE TRUTH ABOUT ART BLAKEY Art Blakey never wrote a tune... yet there are scores of Blakey tunes. He didn't play a melodie or chordal instru- . yet he brought life and shape to ment . every tune and every sideman who passed through h s Art Blakey literally com . pacing the d dr mi tension and re composition with just the right punctuation and drama. His sound reached beyond the drums to encompass every facet of that came from the Jazz the musi r, which began with Blue Note in the late 40s, was riding high. After some 20 albums as a leader, he recorded with one of the greatest editions of the Jazz Messengers ever, featuring Lee Morgan, Wayne Shorter and Bobby Ti As F ik Wolff's lens peered thr ugh the drum set. Blakey's infectious joy of play Art Blakey ing was never more evident. THE FRANCIS WOLFF COLLECTION Print dimen man alive when he was was the happie d that photograph captured the Cropped and tinted, it became the for The Big Beat, the album that dary band a such jazz standards as "Dat Di "Lester Left Town." Mosaic's photograph, ART untinted, BLAKEY Blakey and the sj nothing else. playing. mi cov ed a le well as introdu nd Edition limited to 50 numbered and authenticated custom-processed photo- graphic prints and 3000 numbered photo: graphic reproduction posters worldwide. THIS OFFERING THE POSTER pture every nuance of Franc Wolff's photographic originals, Mosaic Editions has gone to one of the premier fine arts presses in America, Eastern Press, the printer of choice to such prestigious and demanding organizations as the Smithsonian Institution, the Solomon R. Guggenheim Museum, the Museum of Modern Art, the Metropolit Art and the Japan Society. in Museum of The paper used for our photographic reproduction posters is heavyweight, Grade #1 coated, archival acid-free stock. Mosaic posters will not yellow or deterio- rate during your lifetime . . . or even your grandchildren's lifetimes. The poster image is reproduced using a special scanned duotone process with the colors black and gray. Though more expensive than straight single-color reproduction, this process allows richer lights and shad- ings, giving the photographic image more “snap." Each poster in our limited edition of 3000 is individually numbered and. comes with a stamp of authenticity. The dimension: 23 5/8" x 31 1/2". The price:$40. THE PRINT For connoisseurs of fine photographic art are also offering an extremely limited n of 50 photographie prints, each one individually processed to archival stan- dards by Master Printer Chuck Kelton. This time-consuming processing regimen, previously employed by Mr. Kelton while working with such photographers as Ansel Adams, involves a costly chemical washing process to neutralize all acids, and sele- nium toning to enhance the photograph's natural tones. Each museum-worthy, cus- tom-processed photographic print is num- bered, and comes with a stamp of authenticity signed by Mr. Kelton. The dimension; 11" x 14", The price: $500. These limited editions are numbered, authenticated and authorized by the estate of Alfred Lion. Order now. It is expected that this first-ever Mosaic ickly. Be ument to photography of Francis Wol placing your order today. Editions offering will sell out q' assured of owning a lasting mor the ja: ART FOR JAZZ’S SAKE TES From the beginning. jazz lovers have nted, inno- nt-garde photography, illus dalb come to expect, and take for vative and av tration and design on their r Maybe then it stands to reason that it took the art world, not the jazz world, to elevate the works of William Claxton, Herman Leonard, William Gottlieb. Charles Peterson, Charles Stewart and Francis Wolff to new heights of si monetary worth. und. Well, what goes around comes ar In the past couple of years Mosaic has been re iving a growing number of requests from customers for more photographs like the ones we publish in our booklets. But unlike requests for music. we've been at a loss as to where to send jazz. lo ter- in high-quality jazz-related art. sted When the entire body of Francis Wolff photographs became available to us, we knew we had our answer. With the cre- ation of M. phic reprodu cessed photographie p Mosaie's uncompr aie Editions, photo tion posters and custom-pro- ints that abide by ing standards will allow those of us committed to jazz to sat- isfy and display our passion as never hefore. Lt 2 habs Ga Michael Cuscuna Ch lie Louri MOSAIC EDITIONS PROMISES QD: portant Photographers Mosaic Editions posters and prints will con- centrate on the handful of inspired photog- raphers who defined the "look" of all time. 2. Historie Photographs of Major Jazz. Artists Each Mosaic E sents a meaningful artist whose music tions reprodu ion repre- helped shape jazz history. 3. Powerful Visuals These are exciting images that capture exactly what the photographer saw through the lens. pcessor and s that our research has been turn up. Every Mosaie phot graphic reprodui ssed photographie print is fully guar- d to be of archival quality, to bring aghout your lifetime. n poster and custom- pros you pleasure thr: 5. Numbered Limited Editions Each Mosaic photographic reproduction poster is numbered and limited to an edi- tion of 3000 worldwide. Custom-proc photographic prints are numbered, authen- ticated by the proc edition of 50 worldwide. ssed or and limited to an 6. Value They for app! we charge are almost unheard of iating works of art. conditional Guarantee If for any reason you are not pleased with yo poster or print, you nd. may return mplete 8. Easy Ore Ord or fax. Pay with ‘k or money A or Master. order in U.S. HOW TO ORDER 1, Tell us where to send your order. ‘We would like to ship all U.S. orders by UPS (it safer). To do so we need a street address evenif it's a business. 2, Select photographic prints or posters and total your order. Please add the following for shipping and handling: United States shipments: One print $5.00 Each additional print $0.50 Each poster $5.00 Canada & overseas shipments: One print $12.00 Each additional print $2.50 Each poster $10.00 Airmail: For U.S. & overseas, multiply the appropriate rate by four (Asia, Africa, Middle East and Australia, inultiply by five). Canadian shipments include airmail service. UPS automatically insures each U.S. shipment up to $100.00. Additional insurance is optional for orders over $100.00. The cost is $2.50 Foreign orders are not automatically insured. Optional insurance is $3.00 for all foreign orders. 3. Choose your payment option. For U.S. purchases: - Check or money order, payable to Mosaic Editions - VISA or MasterCard For foreign purchases (payment in U.S. funds only, please): - International Money Order (IMO) ~ VISA or MasterCard - U.S. currency 4, Mail in your order. A reply envelope is enclosed for your convenience. Our address is: Mosaic Editions 35 Melrose Place Stamford, Connecticut 06902-7533 @ 203-327-7111 10am - Spm (Eastern time), Monday - Friday. For fax orders: 203-323-3526. For phone orders: We'll ask you for your VISA or MasterCard ‘umber, so please have it ready. e290 “Few things in life are so uniquely original as to be instantly recognizable. There's the singular look of a painting by Picasso, the one and only sound of a Stravinsky symphony or the unmistakable mise-en-scene of a film by Renoir. And then there is Blue Note records.” “Stylistically, Wolff's photos are gracefully composed and full of shadow, his subjects faces often floating up out of an inky background.” “Wolff was a gifted photographer whose candid style belied a trained and disciplined eye. Neither a “decisive moment” advocate like Cartier-Bresson nor a seeker of monumental photographic themes like Eugene Smith, Wolff's talent lay in capturing his subjects’ personalities through subtleties: a telling expression or gesture that helped reveal the man behind the musician.” “A large part of the recognition factor was due to the outstanding photographs — intimate, elegant, mostly monochrome images of the jazz lions of the day — by a Berlin-born refugee from Nazi Germany named Francis Wolff.” “Without harboring any preconceived visual concepts, he approached each session determined just to capture the best possible shot.” “Over the years Wolff shot... a body of work that can stand comparison with any collection of jazz photographs, yet his ouevre was largely taken for granted during his lifetime, and Wolff received little recognition.” “Ki inally, after too many years of languishing in obscurity, his photographic legacy will once more be brought into the public eye.” E29 Reprinted with permission from Darkroom Photography Magazine