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Ra ee eee Cty ees Cie te Oat) end Ie) nen) Prt rt RoR The Legend Poms The Blue Note Years Coonan DORR Cte Pee Enc Welcome to Mosaic Brochure #10 Dear friends, It’s always an exciting occasion for us when, after months or years of planning and production, we get to announce the latest Mosaic collections. This time though, before we talk about our five new arrivals, we've got an overviding announcement to make that we think will be of major interest to LP loyalists. Ever we started making our colle available on CD, record love talking to have been waiting for the inevitable other shoe to drop — the announcement that due to lack of sales, or lack of adequate pressing facilites, Mosaie ‘would be following the industry path of liminating LPs entirely. ‘The LP announcement you've been dreading will not be forthcoming. After listening to our customers” persistent pleas for continued LP availability, total analog processing of LPs, and the availability of audiophile-quality pressings (our customers are « demanding lot). ‘we've responded by not only continuing to offer LPs, but by upgrading their quality From this new release onward, all new Mosaie LPs will be mastered entirely from analog sources. To help guide LP buyers ‘we will now indicate whether individual LP sets have been mastered from analog oF digital masters by placing anor DJafter each set description New Mosaic LPs will also sound different for another important reason . .. they'll be pressed on a newly developed 180-gram pure vinyl dise. Wh ‘comparison between this new heavi and today’s standard vinyl dise, using the ‘same mu improvement in sound. Ironically, this new heavy dise is n we did a found a distine ao N THE Ler CHERRY BLOSSOMS. In 1966, Omette Coleman's alter ego, Don Cherry, came into his ‘own as a composer and a musical force to be reckoned with. Cherry is shown here in Rudy Van Gelder's studio with Henry Grimes (lft), @ member of his ground-breaking quartet. Photograph by Francis Wolff. closer weight and groove depth to LPs that were manufactured at the dawn of the LP age than it is to the modern-day LP. The sound that era, capturing the ambience of original 1950s Blue Note first-pressings like nothing else since. Although we did some soul-searching about the unavoidable price inerease to $13, once we held and heard these pressings we knew we couldn't offer you anything less... . and we're confident that when you experience the difference you'll agree with ou also somewhat reminiscent of ‘This change in price and quality will apply only to new and future LP releases (and Will be identified as Q-LPs) .. . existing catalog sets will not be affected. Red flag. ‘This brochure also marks another first. s0 many Mosaic sets are now in such short supply that we've decided to ereate a “Last Chance” mini brochure. The sets you see listed in the mini brochure will no longer he offered in future brochures. So if you ever thonght of ordering them, it's now or never. Other sets in not-quite-as-short supply which, though endangered, will probably be available in at least one more brochure, are identified in the main body of this brochure, Five different artists from nine different record label: This crop of new releases covers a wide range of styles. Two of them, Buck Clayton's outstanding series of jam sessions and Charles Mingus’ seminal 1959 come from the Columbia vaults ‘enough, even in these reissue- crazed times, only a single CD has been released from each of these great bodies of work. The Clayton sessions are neglected gems that, over the ye ved many requests to rescue from oblivion, and we're delighted to finally give them the Mosaic treatment. The 1959 CBS Mingus dates have been issued in various roblematie ways, We felt that these exciting, essential reeordings were erying out to be released properly, and we're ratified to he the company to doit. We very much regret, however, that this set is available only on LP. We were unable to get the rights for a CD release. A pioncering master of the modern baritone saxophone, Serge Chaloff is one of the Iegendary heroes of jazz. ‘This set is a rare opportunity to present a significant c+] artist's complete body of work as leader regardless of label. Everything by Serge Chaloff as a leader, spanning six record labels, has been included in this colle From the cutting edge come Don Cherry's three long-unavailable Blue Note album: Like his earlier work with Ornette Coleman, this is music that swings as it explores. Considered some of Cherry's finest recordings, they belong on Mosaic. [And what can we say about Louis Armstrong? He is at last represented on Mosaic with the complete Decca studio recordings of his All Stars during the fifties. ‘This was Louis Armstrong's return to his roots after two decades of fronting a big band and recording in various pop settings. Armstrong’s brilliant artistry was revitalized ‘on these important and immensely enjoyable recordings. It was with the All Stars that Lonis, under the auspices of the U.S. State Department, brought jazz to more countries of the world than any jazz organization before or since. So, as you can see, we've been busy, covering the gamut of jazz from Louis Armstrong to Don Cherry. And as always, we hope our work has served the music well. Gane. Charlie Lourie READY FOR THE WORLD, Louls Armstrong and the All Stars began recording for Decea in 1950, the year this photo was taken. By the year 1958, their last with Decca, they had ‘become the most listenedto and loved Jazz band in the world. Photographed at Bop City in New York by Duncan P. Sehiedt. Lou ‘Armstrong appears here with Bamey Bigard, Sry Charles Mingus. Call him a bass player. Composer Music theorist. And one more thing — a leader. ‘ome musicians lead through the sheer beauty of their art. Some through charisma. Mingus had plenty of both, as well as a unique way of composing that put him among the first rank of jazz innovators. And when he had it perfected he recorded for Columbia, Wrote for hand-picked player The Mingus sessions for 1959 are about as good a snapshot of a musician as you are likely to fi recorded music. Mingus had devised years earlier, through his famous workshops, his compositional tech of “writing” for of whom would learn his part by ear then would be given the freedom to interpret the piece. sand-picked pla Here, the writing he did defined the ma the musicians played from their hearts, First versions of classics. ‘The four sessions comprising this release ved a variety of instruments in ensembles ranging from five to 10 pie the first versions of such “Better Git It In Your S Faubus,” “Song With Orange,” “Goodbye Pork Pie Hat” and “Slop.” xophonists Shafi Hadi, John Handy, ooker Ervin and Benny Golson, -pper and Will Don Ellis and Richard ice Parlan and Williams, pianists 1 Roland Hanna and perennial Mingus drummer Dannie Richmond are among the key players who participated. Brilliant sessions. The original release of Mingus Ah Um from the May 1959 sessions had edited versions of five tunes and left another three titles unissued. The November Mingus Dynasty sessions also featured five edited performances, with one tu the ean. The complet tunes were released album Nostalgia in takes and unissued 1979 as the double iimes Square. total output of these brilliant sessions has CALL AND onDER ay pHone: 203/327-7111 1OAaM-Spm (ET) MONDAY-FRIDAY ‘The Complete 1959 CBS Charles Mingus Sessions Liited o 2500 copies word 4.0-LPs [MQ4-143] $520I@" Not Available on CD! never been brought il now. The set also includes four newly- discovered alternate takes and the unedited version of “Goodbye Pork F here for the first time, The original ack tapes of these four pivotal is sessions have been remixed to new analog and digital masters and are presented in chronological order. ogether The booklet biographer Brian Priestley and frequ Mingus pianist/arranger Sy Jol Cree Jam sessions. Not jive sessions. Buck Clayton’s define the difference. ers’ desire to eclipse concert hall “jam sessions” that were far from musical triumphs? Probably both are due our gratitude. For in the early 1950s, George Avakian and John Hammond masterminded a series of all-star sessions led by Buck Clayton to let the world in on a process almost completely hidden, [+] John Hammond’s ori the first LP put it this way “There was once a time that the term ‘jam session’ eonnoted th in improvised jazz perfor musicians after working hours, playing strictly for their own, not the public's pleasure. Today, the expression too of means a paid public shindig whe ip and “With the release of these Buck Clayton and wonderful experience. as ths often missing in organized bands: surprise. ‘The two trumpeters had never played together before, the trombor complete strangers to each other, and the reed players had to he introduced. Of course, without a perfect rhythm section there might well be mass disorder — but Freddie Green, Walter Page and Jo Jones of the original Count Basie band and the extraordinarily inventive piano of Sir id a beat wh ns into a he coalescing force old mainstay of jazz so Charles Thompson pros completely integrated band. “Unprecedented excitement.” Extended play recording allowed a tune choruses, something that was impossible arlier records. Soloists could wor is over four or five consecutive chor two soloists could compete, tra ‘The Complete CBS Buck Clayton Jam Sessions Limited to 5000 copies wor 6 CDs (MD6-144) $90 80-LPs (Mo8-144] $104" on Fax: 209/929-2526 “MOSAIC RECORDS IS PRECISELY THE OPERATION THAT KEEPS JAZZ, THE MOST AMERICAN MUSIC OF ALL, ALIVE Jim Kelton, L.A. Times Syndicate “THE MAJORITY OF MOSAIC BOOKLETS REALLY OUGHT To GET SOME KIND OF Max Harrison ght-bar phrases: accompanying riffs developed on the spot, as naturally as they did with no microphones present. Hammond sd the result “unprecedented musical excitement.” Every complete take from Buck's six jam sessions, including five previously unissued alternate takes, is here. Th “Robin's Nest” was derived from two separate takes which are restored to their original form on this set. e Green, T Young, Julian Dash, Coleman Hawkins, Al Cohn, Milt jimmy Jones, Ji Rushing and others. The booklet, written by Dan Morgenstern, contains photographs from the actual sessions. ” Wewllers Qeten Ups maee Oe ierrae Mazrems-@ Invicat ie new LPs Een Don Cherry, Vintage 1965 — ‘sounds new even now Hirst ean inst sounds and textures, vay and my harmony. Instruments beco singing, ogists ntroducing listeners to unusual ted ensembles and his, own important ideas about what ean be But his ideas didn’t come from out of nowher Not chained to the changes. It was during the mid-1950s that Cherry started woodshedding with saxophonist Ornette Coleman, and the music they made together was something new. Unlike the bebop Cherry had been play West Coast with such masters as Dexter Gordon, Wardell Gray and Hampton Hawes, this musie wasn’t chained to the chord changes. Earthy. uid and swinging, just like jazz had always been, it had another —it soothed and ached at the same time. ‘The depth of feeling, the emotion. the haunting lyricism — finally, all of that was freed from typical chord structures. joined Sonny Rollins and ther New York Contemporary Five (with Ai Shepp), before forming his own quartet with Gato E Henry Grimes and Ed Blackwell. Multicultural ensembles. ‘The album Complete Communion in 1965 was the result. Symphony for Improvisers was re with Pharaoh Sanders, Karl Berg The following year n November 1966, Sanders replaced in the quartet for the album Where is Brooklyn. Even then. was experimenting with n 7 featuring groups of musicians from France, Germany. Ar ind all over the United jeating in the only language they shaved — th The Complete Blue Note Recordings of Don Cherry contains all of Cherry's always- | ‘The Complete Blue Note Recordings of Don Cherry Limite o 3500 copies worldwide, 2.0Ds [MD2-146] $30 Ps (MO3-145] $391" surprising music for the label. The booklet contains an essay by Michael Cuseuna, liner notes from the original albums and many Francis Wolff photographs from the actual sessions, While Cherry has continued to explore and new strains of music throughou Blue Note sessions remain world, th some of his freshest and most vital work in 1 jazz style he helped to ereate “Mosaic RECORDS DOES IT RIGHT. ‘THE COMPANY IS EXPERT AT DISCS FOR THE JAZZ AFICIONADO. WITH COLLECTIONS DOCUMENTING David Steinberg, Albuquerque Journal Mosaic Reconos Senna Six different labels recorded Serge Chaloff. One label has every single recording. T Serge Chaloff was in danger. [No one will forget his baritone saxophone souind alongside Stan Getz, Zoot Sims and Herbie Steward, the so-called “Four Brothers” of Woody Herman's Second Herd. But his own small group masterpieces — recorded for six different record labels from 1946 to 1956 — were likely to sit in vaults forever, forgotten or ignored as too small ‘number to warrant an important U.S. re-release. Mosaic found them all But at Mosaic, we found every session he led. Every eut he recorded, inclu unreleased performances. And we've put them together in a collection that’s a fitting testament to his talent. ‘Serge Chaloff, whose original compass points were Ellington and Basie baritone players Harry Carney and Jack Washington, came under the spell of Charlie Parker and never looked back. Despite the cumbersome size ofthe baritone, Chaloff followed the high-flying examples of his hero and managed to be light and quick, his dynamies wide and dramatic. Listeners ‘were repeatedly moved by the expression he could coax from his baritone. Won awards and praise. Chaloff’s tireless improvisational inventions and grace found a showease in a succession ‘of small-group recordings. His ability won him many awards and praise from the leading erities’ and readers” polls of his time. were scattered: two for Dial, y four for Futurama, two for Motif, 17 for Storyville, 21 for Capitol. Even in his day (and certainly for listeners today), anyone trying to get a sense of how Chaloff's saxophone transmitted the message of Charlie Parker through his own innovati had an almost impossible time assembling a representative collection ‘This first-ime-ever collection includes three Capitol performances that are CALL AND ORDER BY PHONE: 203/327-7111 TOAM—SPm (ET) MONDAY-FRIDAY Limited o 5000 worcuice 4s [MD4-147] $60. 5 0-LPs(M05-147] $650" previously unissued, and one which surfaced only in Japan Sidemen include trumpeters Red Rodney and Herh Pomeroy, saxophonists Charlie Mariano and Boots Mussulli, pianists Sonny Clark, Russ Freeman and Dick ‘Twardzik, bassist Oscar Pettiford and drummers Denzil Best and Philly Joe Jones. The booklet is written by Vladimir Simosko and includes rare photographs. Peco He loved the applause and cheers of audiences all over the world. But musically, Satchmo loved coming home. Jew Orleans, Its the culture that spawned Louis Armstrong. And it’s the auther rned to throughout his life. His Hot Five and Hot Seven recordings of 1926-28 became the standard by which everything that came after was measured, and established him as the first true genius of jazz. And then, success had its way with him. Over the next two deeades he appeared and recorded mostly with big bands (including his own). There were the hit records (mostly pop and novelty numbers). There were the triumphant tours abroad, even Hollywood attenti [<1] The sound that meant most. And then there was home. In 1947, Louis formed the All Stars to give himself a vehicle for pure, unadulterated jazz. His recording career would continue to swing between various forms of pop music and the brilliant jazz he made with this group, but the All Stars became his primary touring group through the 1950s and 1960s, and the ‘musical outlet for the sound that still ‘meant the most. Between 1950 and 1958, Louis Armstrong and the All Stars (usually Jack Teagarden or Trummy Young on trombone, Barney Bigard or Edmond Hall on clarinet, Earl or Billy Kyle on piano, Arvell Shaw ‘or Squire Gersh on bass and Cozy Cole or Barrett Deems on drums) recorded 81 tunes for Decea under the supervision of Milt Gabler. These include the April 1950 New Orleans DaysiJaz= Concert sessions and the marathon December 1956— January 1957 sessions which produced his Musical Autobiography set ‘Studio recordings all together. ‘These 18 sessions bring together all of the studio recordings by Louis Armstrong and the All Stars, which, over the years, were spread across 10 different albums. For the first time, they are being package together, including 10 tracks previously released only on singles, three tracks previously released only in an edited form and five tunes never released until now. ‘The booklet is by Dan Morgenstern and features many rare photographs. ‘The Complete Decca Studio Recordings of Louis Armstrong and the All Stars Limited to 7500 woridwide. 6 CDs [MD6-146] $90 8 0-LPs [Mag-146] $10 on Fax: 203/323-3526 VISA & MASTERCARD ONLY, PLEASE Mosaic’s 18-CD/27-LP collection of The Complete Capitol Recordings of The Nat King Cole Trio is the sweetest jazz $270 can buy. FOR THE PAST YEAR, NEARLY EVERY JAZZ CRITIC IN THE WORLD HAS BEEN SINGING ITS PRAISES. NOW, THE ICING ON THE CAKE: GRAMMY Qe WINNER! BEST HISTORICAL ALBUM scar was 1937, big bands were the rage. A gifted 21-year-old pianist out of Chicago was paying his dues in California, playing for $5 « night plus tips at beer joint from San Diego to Even then, Nat Cole's piano artistry was unmistakable to all who heard him, He had the swift, graceful touch of a Teddy Wilson, the rhythmic complexity of an Earl Hines, « sophisticated harmonic approach, irresistible taste — all the aalities that would later make him the idol of a generation of modern jazz pianists Musicians spread the word. And he had some unusual ideas about small: group jazz. Few at the time had ever heard a piano/guitar/bass combo. The common perception was that a small group should sound like a scaled-down big band. But Cole felt he was onto something. In guitarist Oscar Moore, Cole found a player who meshed perfectly with the harmonically advanced, yet deceptively simple piano style that he had developed The King Cole Trio had a uniquely light and delicate sound that club audiences loved ‘especially when Cole added an occasional vocal to the set, with the voice that perfectly ‘matched his breezy piano style. But, light as it appeared on the surface, the music that the trio was playing was potcerful rhythmically and harmonically challenging in a way that presaged bebop. Musicians happening upon the trio went wild. . . and the word spread fast Hottest act without a record deal. By the end of 1938, the King Cole Trio had hecome one of the hottest acts on the West ‘Coast and became one of the first black acts to land a weekly spot on a national radio network. CALL AND ORDER BY PHONE: 203/327-7111 TOAM-SPm (ET) MONDAY-FRIDAY Frequent trips to New York and Chicago added to Cole's growit ity. His gentle biggest fans, this first few years in the land a solid recording Finally in 1940, the trio was signed by Decca, but the deal was short-lived thanks in part toa musicians’ union strike and a world war. RAY CHARLES RECALLS THAT IN 1950, HE WAS A VIRTUAL NAT KING COLE CLONE. HE PLAYED PIANO LIKE NAT COLE. HE PUT TOGETHER A DRUMMERLESS TRIO LIKE NAT COLE. AND AT THE TIME, HE EVEN SANG LIKE Nat CoLe. By the end of 1943, the first actual Capitol session took place, which included Cole's ighten Up And Fly Right.” Tt was a smash, reaching #9 on the pop charts, #1 on the R&B charts and even #1 on the Count & Western charts in 1944. The King Cole Trio won the Down Beat poll from 1944 through “47. They won the Metronome poll from 1945 through "48. Cole was considered by many to be the best jazz pianist of his da ing the Top Piano honors in the 1947 ough “49 Metronome polls, and receiving Esquire awards in 1946 and °47 Cole’s unique keyboard style and the fresh configuration of the drummerless trio began to make its mark on everyone. Before Cole the singer beeame an international pop celebrity, Cole the pianist was one of the ‘most influential players in all of jazz, serving Ce] as role model for such diverse artists as Bud Powell, Oscar Peterson, Red Garland, Phineas Newborn, Ahmad Jamal, Charles Brown and Ray Charles. Even Bird and Dizzy were paying close attention to Cole's harmonically advanced, fluid piano style. Genius obscured by popularity. Many jazz. fans of the 1940s were not at all pleased when, at the end of that decade, Cole's eareer gradually shifted gears and he began making records stritly for the pop market. By the early 1950s, Cole’s pop career was soaring. By the mid-fifties, few ‘of his pop fans were even aware that Cole had been one of the movers and shakers of jazz less than ten years earlier. And eventually, with nothing but obsolete 78s and a few haphazardly thrown-together LP reissues to serve as reminders, much of the jazz world also forgot about Cole's former life as one ofthe piano giants of his day. A momentous discovery for all of us. As Mosaie’s set demonstrates, Nat Cole's recorded output of brilliant jazz is staggering, The Complete Capitol Recordings of The Nat King Cole Trio contains 349 performances, every Nat King Cole Capitol ‘commercial and transeription recording with Cole on piano, with both trio participation and a jazz feel. This ineludes every recording from Cole's first seven years at Capitol (1943-419), plus everything released afterward that can reasonably be considered a jazz-based recording (including the ‘original Penthouse Serenade sessions from 1952 and 1955 and After Midnight sessions ‘of 1956). The set concludes with trio performances made in 1961 for The Nat King Cole Story. ‘Over one-third of this set consists of material that has never been commercially released. Another one-third had originally appeared ‘on 78s and 10-inch LPs 40 to 45 years ago, but has never been reissued since. In order to make this set truly complete from 1943 on, we've included all six Excelsior recordings, four of which Capitol chose not to purchase, and the four sides recorded for Atlas/Premier just prior to the trio's first Capitol session. “Lester Leaps In” . .. Cole style. In March and April of 1946, the trio went ‘on a recording binge. In addition to three regular Capitol sessions, they recorded over three dozen tracks for Capitol transcriptions, strictly for radio use. We found the original dises of these never-commercially-released transcriptions, and the sound — as well as the repertoire — is sensational, Tracks include swinging versions of “Tiny's Exercise,” “Rock-a-bye Basie,” “One O"Clock Jump, gin’ The Blues” and on Fax: 203/323-3526 VISA & MASTERCARD ONLY, PLEASE ster Leaps In.” In all, there are 56 transcription tracks in this set Coming down to speed. In typical Mosaic fashion, we have tracked down and used the best available souree material for each track and taken the greatest care in making the cleanest and best sound transfers possible. Additionally. drummer and Cole expert Kenny Washington discovered that a numb original Cole 7Bs, as well as subsequ reissues of those titles, were released somewhat sped up. AS a result, all tracks were cheeked for proper pitch and, when necessary, speed-corrected. So in addition to all the rare and unreleased tracks included, wre are many tracks being made available at their proper speed for the first time, The lavish 61-page booklet contains session- by-session notes and commentary by Will Friedwald, an essay on Cole's keyboard artistry by pianist Dick Katz, a eross-indexed tune list, full discogeaphy and many rare photographs. Though the set looks like an archivist’s dream, itis surprisingly listenable, never academic, On a practical level, the producers have avoided too many alt it's Cole's ti and that he combination of swing, vocal texture and ‘The Complete Capitol Recordings of The Nat King Cole Tio Limited 0 10,000 copies wore. 18.CDs [MD18-138] $270, 27 LPs [MR27-136]$270(D) Pease note special shipping charges on order form, weocires Sere ‘Ow bicrrac maavems. @moicaves oun new Gr n were necessary to make the pleasures and al imagins music that celebrate pains of being alive.” Peter Watrous, The New York Times nerican musie comes in lots of, whatever the sound, it doesn’t get CoLe’s EARLIEST RECORDS INFLUENCED EVERYONE. LISTEN TO ‘THE WAY BUD POWELL PLAYED BEHIND Cootle WILLIAMS IN 1944. ich greater than this. Any one of the unes in this collection can swing you off on a cashmere cloud.” Jay Cocks, Time ‘Enough jazz artistry and pop dexterity to confirm Cole as one of the seminal tale American music. And so m making that it’s virtually Unforgettable.” Time Imost single-handedly Mosaic has restored Cole's niche as a superb, influential jazz pianist. With its monumental liner notes by Will Friedwald, the Mosaic boxed set is a sonie cathedral erected in memory of Ci venerable jaza talent.” ‘Owen MeNally, Hartford Courant ‘Lwon't even try to choose favorites from the 349 selections, for at no point did I feel I ‘was hearing anything less than wonderful. ‘There is only one thing wrong with releases ‘of this scope: Most people can’t afford them. But it would he worth skipping a few other delights for this one. It's a true gem that will sparkle for years to come. and with ov 16 hours of musi, it certainly won't become repetitious.” Chris Albertson, Stereo Review “My verdicts searcely original, but it is ‘emphatic all the same: This isa self- contained monument of American musi, the very best recordings by a pianist and singer whose work transcends category, ccalture and race. Itis, as Louis Armstrong's recording of “West End Blues’ ‘or Leonard Bernstein's of Charles Ives's Second Symphony — music that speaks to a particular part of what we now like to call "the American experience’ Jonathan Yardley. The Washington Post Grammy Nomination for Best Liner Notes. Written by Will Friedwald and Dick Katz Sores “These performances are barely less remarkable than any in jazz.” weridan, Jaz= International Chris Journal Connections parted by 17 yar the Monk recordings find him either alone atthe keyboard, or in the company of peers (AL Mekibbon and Art Blakey) — and he had previous few peers. The firs side-and-a-half ofthis four- LPithree-CD set is given over to a 1954 solo sequence recorded in Paris and previously available — but usually neglected — on Vogue or GNP Crescendo. The neglect is puzzling, for although recorded before Monk’s rediscovery” (tied tothe quartet with Coltrane, and later his ‘promotional backing by CBS, and a Time magazine cover story), it is nevertheless a pungent penetrating look at some of Monk's best-known ‘compositions, Though Monk tended to turn reflee- tive when performing in solitude (Thelonious Alone in San Francisco, reissued on Riverside! OJC. is expeially heart-rending in his regard). these performances of pieces like “OFT Mino You Nea’ and Round Midnight are somewhat tougher, exposing the muscle, sinew and nerve that provided the bass for Monk's emotional messages. Remarkably bluesy “The remaining 26 tracks (14 solo, 12 with Blakey and MeKibbon) were from Monk's last recording session, 1971 in London, and find him ina remarkably bluesy frame of mind. Thus the variety off-hand walking and stomp basslines on ‘Blue Sphere’ and ‘Something In Blue” reinforce his psition in the James P. Johnson-Fats Waller Duke Ellington ineage of piano playing. But Monk's intentions go far beyond that limited suggestion; the slowly rocking train) episodes in “Something In Bhu” are as timeless as Jimmy Yancey or Pinetop Smith, and his frequent riff- is no less powerful than Count Basie’s her, his characteristic obsession with subtly altered repetitive passages was a harbinger for fature compositional developmen influence he has never been credited for “Though I prefer the freedom which the solo format offered Monk, there's no denying that his metrical effects are throven into greater relief when ‘accompanied by the rhythm section's consistency. Regaraless, these are remarkable performances -—seven of them previously unissued — and serve as fitting companion to Mossic's indispensable The Complete Blue Note Recordings Of Thelonious Monk [MR4-101]." Art La [The booklet includes an essay by Brian Priestley (who was present at the Black Lion date), the first biography of Monk’s last years, Monk's last ‘Down Beat interview and rare photographs. ie, Down Beat CALL AND ORDER BY PHONE: 203/327-7111 TOAM-SPm (ET) MONDAY-FRIDAY of Thelonious Monk Limited o 7500 copes world 3.0Ds [MD3-112] $45 41S [MR4-112) $4018] BRET “Everything hard-bop tenor saxophonist Brooks ever recorded under his own leadership — including his rare “True Blue,” one of the greatest albums Blue Note ever released.” Newsweek Boren saxophonist Tina Br thirteen recording sesso on the Blue Note label and five months offer us the total musical legacy of an excellent jazx stylist. and June 1961 tenor oks took part in all but one of them Those short three years In some respects, Tina Brooks reminds me of late great tenor player Hank Mobley. They were both stalwarts of the hard bop schoal of jazz Brooks and Mobley played with and were respected by top level East Coast luminaries such as Lee Morgan, Freddie Hubbard, Jackie McLean. Sonny Clark, Kenny Drew, Kenny Burrell, Paul Chambers, Philly Joe Jones and Art Blakey. Neither of them became well known outside a small clique of dedicated jazz fans. Both of them died tragic deaths much too young, “Harold “Tina” Brooks was born June 7, 1982 aand died August 3, 1974, This marvelous Mosaic boxed set contains four LPs. They make up all ‘one ofthe three sessions was previously available ‘on a North American issue. That one is True Blue, originally released as Blue Note (8) 4041 Le] ons Vintage 1958 Blue Note material The remaining three records include one that was released in Japan under the ttle Minor Move... It features Tina Brooks, along with Lee Morgan, Sonny Clark, Doug Watkins and Art Blakey. ‘The music is vintage 1958 Blue Note material. Full b tasteful died, soulful, swinging and All the ingredients necessary to bring a smile to the face of jazz listeners worldwide The music on the [previously unissued] Back To The Tracks session is extremely groovy. Ibis next to impossible to prevent your toes fro tapping or fingers from popping while listening to this joyous material. Tina Brooks’ distinctive sound and stylistic approach to the horn are much in evidence here Totally new material The fourth and final recordin ths boxed set brings totally new material tothe light of day the sidemen include Johnny Coles, ew, Wilbur Ware and Philly Joe Jones, pet player Johnny Coles is heard from far infrequently. Tt isa pleasure to have him ‘The Complete Blue Note Recordings ofthe Tina Brooks Quartet Limited o 750 4 LPs (4-105) $40 Notavalable on CD join the proceedings. ‘The rhyth solid, ass true on all four of the ‘Once again though it isthe unique wailing phrasing and ideas of Tina Brooks that eapture the listener, Throughout al four records Brooks plays ata very high level. Tt makes one wonder ‘what further gems we might have had if Tina Brooks had continued to play regularly andl record after 1961. Tina has been gone for more than 12 years now, but his music on these four LPs keeps him very much alive “Along with all the marvelous musi this boxed set also includes an interesting and worthwhile booklet with articles on Tina Brooks" life, his Blue Note recordings, liner notes of some of his on Fax: 202/323-3526 VISA & MASTERCARD ONLY, PLEASE records and a complete discography of Brooks recorded work ... This excellent set is highly recommended.” Peter Friedman, Coda [Note: On sides one and two the eymbals are ‘over recorded, creating a slight amount of distortion that cannot be repaired. | eco “The barrier-breaking aural adventures of one of the most important jazz organists in the history of the music.” Michael Point, Austin American latesman © Qprenniat Larry Young (1940-78) is probably est remembered for his work with drummer Tony Wiliams’ Lifetime and as a member of Miles’ Bitches Brew crew. But before that, Young went through a well-documented developmental journey. Now Mosaic has tathered together the nine albums he made for Blue Note during the “60s — three under the leadership of guitarist Grant Green, six on his ‘own — and packaged them with their usual labor-oflove distinction, Leftofcenter post-bop classics “By the early ‘ls Jimmy Smith had st the standard for modern jazz organ —a funky bop adapted to the instruments ability for both sustain and percussive effects. Young, though, had other ideas, Already evident onthe Grant Green set Talkin’ About (64). Though bluesy licks and glosses were never far from his reach, Young favored more abstract post-bop phrasings and Coltrane-like repetitions. The other two Green sets are more conventional, but Young's frst two Blue Notes as ‘leader — Into Somethin’ ('64) nd Unity ('65) —arelef-of-center post-bop classics, the former with sometime avant-gardst Sam Rivers on tenor the latter with then-muscular Young Turks Joe Henderson on tenor and Woody Shaw on trumpet With Elvin Jones on drums, the energy, variety and sheer oy ofthe structured spontaneity feels imeless. ‘Anticipating new trends “Somewhat less admired — somewhat lest knonen fare Young’s remaining four Blue Notes; taken in sequence one can follow the artist investigating the limits of the musical freedom which was in the air, responding to and anticipating new trends while trying not to lose touch with his audience. Of Love and Peace ('6) i some serious 6s shit sextet taking a both-barrel-blazing approach which makes the expresive erties taken on Young's previous albums sem almost dainty. Contrasts ((67) backs up from the communal blow-out thing, Dut is also a prescient jump onthe fasion impulse, specifically its early and loose post-New-Thing phase. Heaven on Earth (°68) is a calculated bid for audience approval, and apart from a couple of intriguing mood picees, the least interesting album here. Finally, Mother Ship ('69 — not roleased until °80) is a quartet update of Unity, post-hop sliding into spacey fusion withthe added attraction of Lee Morgan's never-overwhelmed trumpet. ‘The Complete Blue Note Recordings of Larry Young Limited to 7500 copies worldwide 6 CDs [MD6-137] $00, 9 LPs [MFQ-137} $9015) “The range of Larry Youngs achievement makes this collection more than just an archive ‘Young as alot to say’to those willing to listen: the possibilities his music suggests are far fom exhausted.” Richard C. Walls, Musician [The booklet includes a biography by Michael Cuseuna and many previously unpublished session photographs by Francis Wolff] “Getz’s ‘Body and Sou? is a near classic, but in reality every performance on this package is worthy of mention . ..” Seott Yanow, Cadence “Jo's been called the ‘Stan Getz Sound” or the Long Island Sound.” Whatever the label, tenor saxophonist Stan Getz has always had an immediately recognizable sound that set him apart. Tn the early days it was a light sound that seemed to float over the ehythm seetion and swing effortlessly. His inspiration was Lester Young, ‘and Getz was in the Vanguard of the movement in [cv] LABLE the late 1940s in which young tenor saxophonists adapted Young's style to the demands of bebop. Rapport that bordered on telepathy ‘Getz was at the peak of his powers in the early 1950s when these sessions with guitarist Jimmy Raney were recorded. Both were young bebop players with prodigious technique who had a apport that bordered on telepathy. They could phrase as one with brilliant unison runs at even the fastest tempo. “Thirteen of the pieces were recorded during the quintet’s October 1951 engagement atthe Storyville nightclub in Boston. Working with Gets and Raney were pianist Al Haig, bassist ‘Teddy Kotick and drummer Tiny Kahn. The performances are among the most famous in jazz history, and some of the celebrated tiles include ‘Parker 51,’ Move’ and ‘Hershey Bar. “The remainder of the album comes from 1951 ‘and °52 studio sessions with players such as Horace Silver, Roy Haynes, Duke Jordan and Red Mitchell [In toto this set includes all the original Roost ‘quintet Session, their final session as a working unit recorded for Verve in 1952 and their 1953 reunion session recorded for Prestige under Jimmy Raney's name.) “The music hasbeen released on several albums ‘on various labels over the years. Often, though, the production was sloppy and the sound abysmal. As always with the mail-order Mo releases, the presentation of the music i first rate, The sound is very good, and there's a booklet outlining the careers of Getz and Raney with a detailed diseussion ofthe performances.” Jay Roebuck, Orange County Register ‘The Complete Recordings ofthe Stan Getz Quintet with Sy Raney Limited o 7500 copies worldwide, 3.0Ds [MD3-131] $45, 4 LPs IMR4-131) $4005) “A major discovery in the world of art.” Wayne Thompson, The Oregonian ‘musician of only incidental merit, purchased a portable dise em 8 Roebuck to make live recordings of Charlie Bird’ Parker's solos on alto saxophone. riedett died in 1957 atthe age of 34. His direct: to-acetatedise recordings, plus some paper tapes made from a reel-to-reel recorder (tape using plastis had not been invented in 1947) gathered dustin his brother's attic for more than 30 years, “These recordings represent a major discovery in the world of art. They also tellus something about the miracle of modern audio recording Benedetti on was not to make mone tomake history, but rather to improve his own improvisational playing by capturing Parker's bebop sound and style, Little did he know in 1947 that he was ereating a musical legend; that, in 1990, Mosaic Records of Stamford, Conn., would locate these primitive recordings, purchase 1 restore them and release them into the world of, digital audio, he hero of this story isa distinguished audio engineer and jazz researcher named Phil Schaap Schaap’s two-year-long effort to research and restore the Benedetti-Parker tapes exceeds his prior successes and ranks among the top audio challenges ofthe century. He made as many as 60 audio repairs on these tapes for each toro minutes of music, Not easy listening “Make no mistake, this [seven-CD/10-LP] st from Mosaic... does not constitute easy listening ‘Thisiscficul listening. ‘The sound quality ranges from audibly adequate to quite poor... Yet ‘most people tend to adjust their hearing to their sound environment. By the end of the frst dise, most listeners will hone in on Bird's solos and become almost oblivious to the sone imp “Mosaie’s boxed set contains a minimum of 461 ‘original recordings by Parker — approximately 10 pereent of Bird's complete discography. They are recorded on acetate dises and paper-based tape. This isnot recommended software for transfer to digital diss, but the results Mosaic has obtained should inspire fature efforts to restore neglected music from the Toe Age uzz historians have speculated that recordings of Parker, one of the juses ofthis century, represented the artistic equivalent of finding an unfinished Beethoven symphony or a missing Monet sketch pad. As Mosaic co-founder Michael Cuseuna put CALL AND omen By pHoNe: 203/327-7111 TOAM-SPm (ET) MONDAY-FRIDAY ‘The Complete Dean Benedetti Recordings of Charlie Parker Nota limite etn, 7 Ds [MDT-129] $105 1OLPS (MR10-125} $100 6) it, *W’s like seeing Judge Crater read the Dead ‘Sea Serolls in downtown Atlantis.” “Now, thanks to Mosaic and the engineering genius of Phil Schaap. the Benedetti tapes have emerged from the realm of rumor and have become recorded fact ‘Wayne Thompson, The Oregonian Coma “They don’t make ’em like that anymore. But, then again, they didn’t exactly make ’em like that then.” Bill Shoemaker, Jaz=Times c Loe Morgan—Way nmons edition of Shorter-Bobby Blakey's Jazz was a great band. Their engaging idual voices meshed to make a lasting statement ata pivotal time in jazz history. What The Complete ue Note Recordings of Art Blakey's 1960 Jazz Messengers drives home is how litte time it took them to leave such a legacy Though it took until the end of the 70s for the nine albums worth of material they waxed to he issued, it was all recorded in a mere 14 months —or an album about every six weeks. Catchy themes and deep grooves “The other salient stat gleaned from this [10-LPY Six-CD set strongly argues that this was as much ‘composer's band asit was a player's, Of the 48 compositions they recorded, 38 were originals penned by members of the band — a stager 28 by Shorter, I by Morgan, three by Ti ‘and Blakey's inspired unaccompanied solo, “The Ce] oe ee Freedom Rider.” And these weren't just ‘I Got Rhythm’ rehashes, but distinctive works that leavened progressive structural devices with catehy themes and deep grooves. Works that hhave passed the tes of time, like Timmons" ‘Dat Dere,’ Shorter’s ‘Lester Left Town’ and ‘United,” and Morgan's “The Witch Doctor” and “Afrique. “The lasting vitality of the music stems from the confluence ofthe respective hard bop sub-genres represented by Morgan, Shorter and Timmons. It’s the musical equivalent of coalition polities at its bes, with Morgan, who had only recently shaken ‘Clifford Brown derivative wositional middle ground between ‘Timmons’ chart-topping soul jazz and Shorter's already adventurous contours, Tt was a sublime trick to make such a cohesive collective statement from these various approaches, After all, this was “60-61, when the line between jazz and jiza was being dravn in the sand, Bold new ground “This is where their prowess as players cam ‘as Timmons could rub the funk into Short knotty changes, Shorter's harmonie sophistication and elliptical phrasing could add a tart twist to the most earthy shulle Blakey could dish up, and Morgan's gleefully squeezed notes and gloriously soaring tone took everything up a notch, Its also ‘where Blakey's genius as a bandleader and a drummer came into play. Rather than dwell on dards and signature pieces from previous Messengers editions as was the ease on the Birdland sessions, Blakey et his men break bold The Complete Blue Note Recordings of Art Blakey's 1960 Jazz Messengers Linited to 7500 worldwide, 6 CDs [MD6-141] $90 1OLPs (MRt0-141] $90 new ground in the studio... knowing that the imprimatur of his patented pulse would be enough twhook the general jazx audience “They don’t make ‘em like that anymore. But, then again, they didn’t exactly make ‘em lke that then. As Bob Blumenthal’s thoroughly researched booklet essay points out, serendipity played a ‘major role in this band eoming together. In a climate of earefully orchestrated projects and years long grant eycles, the example of Art Blakey’s 1960 Jazz Messengers is especially profound Bill Shoemaker, JazzTimes err “Among the most valuable and exceptional recordings of modern jazz.” Art Lange, Down Beat harles Mingus’ early-608 quartet featuring Ted Curson, Erie Dolphy and Danni ichmond, was as ¥i ting as jazz gets the first five tracks on time changes — and his pre of how traditional New Orleans and church expressionism could mix with modernism lends these records an aura of gdlliness. Ada the political ramifications of the group’s brash virtuosity and they hecome integral to any recounting of that era. For without Mingus” innovations, the high points of jazein the 80s — Threadgill, Murray Dara, ete. — simply wouldn't exis. The telepathic rhythmic interplay This st collects thee sessions originally released in scrambled form on f Mingus Presents Charles Mingus, The J Various Artists, Mingus and Newport Rel then-unissued tracks are ded an unpolished near-mast understanding Bugs. piece Mingus never recorded again, is hobbled by occasionally lethargic soloing — Mingus was only allowing one take per tune. “Reincarnation OF A Lave Bird, like all the material on the set, features the telepathic rhythmic interplay that characterized Mingus and Richmond at their best. A final session, which included Roy Eldridge, Jo Jones and Tommy Flanagan, forks up “Body And Soul, with slow Roy Eldridge solo opening the door for adouble-time Dolphy outing As the sessions are ordered chronologically it’s possible, for instance, to hear all the tracks with Roy Eliridge together. Another benefit is heaving Mingus” influence in retrospect —listen to Lock “Em Up" and hear David Mun Several of the unissued tracks unearth powerful solos by Eldridge, Dolphy and Booker Ervin ‘making this more than just acolleetor’s tril It's classic music made easly available; every Thome should have it Peter Watrous, Musician Ow brarvac maavers. QinoicaTes oum new GPs (rma Caer ‘The Complete Candid Recordings of Charles Mingus Limited to 7500 copies wordwide, 3.0Ds [MD3-111] $45, 4s IMR4-111] $408) [The first four tunes on this set are taken from the original mono tapes. The only surviing stereo ‘masters were third-generation, highly equalized tapes with inferior sound quality. The booklet includes new essays, Nat Hentoffs original liner notes and unpublished photographs.) ease “This is perhaps the most formidable pianism these ears have heard: This is the Great Divide of American piano playing.” Glenn Gould he ethos of jazz today owes much to three albums produced by Nat Hentoff for Canis Max Roach’s We Insist! Freedom Now Suite, Charles Mingus Presents Charles Mingus and The World of Cecil Taylor. Roach signaled a new cera of social and political commitment in jazz Mingus took a bold change of direction, ushering in what is widely considered to be the most important period of his career. And The World ‘of Cecil Taylor offered ... well the ttle said it “The Complete Candid Recordings of Cecil Taylor and Buell Neidlinger isan exhilarating. overwhelming document. Of the four hours culled from the four sessions that produced The World .. . Air, New York City R&B and Cecil Taylor's AUL-StarsJumpin’ Punkins, there are slightly over two hours of previously unreleased takes, There area half-hour of takes of heretofore unissued compositions, including two takes of ‘Number One’, Sunny Murray's recording debut, and two takes of ‘Davis,’ a seorching Neidlinger- Es] es Archie Shepp duet. Five takes of inat just under an hour, detail a master vation, In addition to complete ciscographical data, the booklet features Neidlinger's original liner notes for The World ....new essays by Nat Hentoff and Michael Cuscuna, incisive, scholarly track-by-track am wer. and edited excerpts from a free-wheeling interview with the Churning motifs, avalanche-like runs, and Jarving clusters. Those recordings were made ata 7 The sessions juncture in Taylor's development are credited for articulating Taylor's Great Divide style, Neilinger’s term for the now trademark mix of churning motifs, avalanche-like runs, and jarring clusters “Beyond the historical importance ofthese sessions, there are many rich pleasures contained in [this set]. First, and foremost, the music swings, incessantly, debunking the myth that somehow a driving 44 hampered T: voices in the various ensembles are thoroughly ‘engaging. In tandem with Taylor's mercurial iano, Neidlinger's supple, agile bass, Archie Shepps avant-gutbucket swagger, Dennis Chatles’ rixture of elemental time-keeping and raw emotion... are equally cogent on the frontiers of “Air, and the bluesy stroll of ‘Lazy Afternoon.” The serendipitous presen¢ the uneven readings of the E the diverse talents pooled by Neidlinger. Taylor is with the program, kicking the soloists ao with jabbing chromatic comping and flourishes that are an amalgam of Duke, Garner and Monk. “Hurry up, buy The Complete Candid Recordings of Cecil Taylor and Buell Neidlinger, saturate yourself in them, and then brace yourself for FMP's upeoming 10-CD Taylor set Bill Shoemaker, Jaz2Times ‘The Complete Candid Recordings of Cecil Taylor and Buell Neilinger Limited to 7500 copies wordni 400s [MD4-127] $60, 6 PS [MR6-127] 60 OMMODORE EnCEC Ce The Complete Commodore Jazz Recordings Josaic Records takes you back to an era Iwhen a record store could thrive selling jazz, and jazz alone. The Commodore Shop, on 42 in New York, ‘was the center of the universe for jazz in the 1930s and “40s, Customers and hangers-on in the store included the great jazz musicians of the day. and such movers and shakers of the future as Bob Thiele, John Hammond, Jerry Wexler, Ahmet Ertegun, Alfred Lion and Francis Wolff. ‘The music that they were hearing and buying — much of it produced by owner Milt Gabler to “keep the custon atisfied” — made Commodore ot ‘most important jazz labels in history VOLUME I (January 17, 21, 1943) Sold out. 138-December VOLUME II (February 5, 1944-April 19, 1945) brings you 340 recordings made during that historic time on 23 LPs. dozens of “Commodore landmarks featuring Billie Holiday, Lester Young, Ben Webster, Hot Lips Page, Bobby Hackett and Edmond Hall with Teddy Wilson, all ‘on new Mosaic transfers and sounding better than you've ever heard them. Ph there are surprises around every turn, with leased alternate takes and newly discovered tracks by Albert Ams never-before ‘The Complete Commodore Jazz Recordings, Volume i Limite o 2500 copies wordwide, 20 LPs (MR20-124] $2000) Nt avaiable on CD. Please te special shipping charges on or frm CALL AND ORDER BY PHONE: 203/327-7111 TOAM-SPm (ET) MONDAY-FRIDAY the DeParis Brothers, Jess Stacy, Sid Catlett, Jack Teagarden, Joe Bushkin, Pe Wee Russell, Eddie Heywood, George Zack and many others, VOLUME I (Jum contains 246 recordings on 20 LPs, all the last 78s, all the 10-inch and 12-inch LPs, important addenda to both previous volumes, plus a wealth of previously unissued material by Billie Holiday, Bud Freeman, Jonah Jones, Ralph Sutton, Frank Wess, Mel Powell, Wild Bill Davison, Peck Kelley Eddie Edwards" Original Dixieland Jazz Band and others, From the all-star Town Hall concert of June 9, 1945 through the legendary Peck [ Breciat OFFER: ¢ Commodore II you ean off on Commodore IIT and pay 0, no matter when you buy it! cw] ‘The Complete Commodore Jazz Recordings, Volume I Limited to 2500 copies wordwide 23 LPs [MR23-128] $2301) Notavaabe on CO Pease note special shipping charges on ord form, tsk’ Kelley private recordings of June 9 and 16, 1957, Commodore was making history to the end, Now you ean own ital ‘* Bach volume’s 48-page booklet contains another chapter in The Commodore Story by Milt Gabler. sessi ssion notes by Dan Morgenstern, a thoroughly researched discography and rare photographs. # A. special 68-page beginning-to-end discography of Commodore jazz is neluded with Volume III. Published for the first time . . . a $25 val + Each edition is limited to 2500 copies worldwide. Soe Down Beat Mosaic’s new achievement might, to aid international understanding, fairly be described as stunning, mind-boggling and riveting. Nothing so amazing could have been imagined 10 years ago. Sixty-six LPs for Heaven's sake! Everything, the great, the good and the mediocre that Milt Gabler and his associates recorded or acquired during two decades is gathered here eniently (if you have the necessary sats). Pressed ina limited edition of 2500, boxes ensure that the material — including alternate takes and much unissued previously — should be permanently available in libraries or in the hands of ctors all around the world.’ Journal International “Mosaic has once again compiled an historie and cultural document of monumental significance.” W. Royal Stokes, Jaze Times on Fax: 209/329-3526 VISA & MASTERCARD ONLY, PLEASE “GABLER PRODUCED ALMOST NINETY CommoDORE DATES, USING OVER 150 MUSICIANS AND SINGERS. GILBERT MILLSTEIN, IN A PROFILE OF GABLER [THE NEw YorkeR], QUOTES AN ANONYMOUS MUSICIAN. ‘THERE'S A RAY [THAT] COMES OUT OF HIM,’ THE MUSICIAN SAID ABOUT GABLER. “You CAN'T HELP DOING SOMETHING THE WAY HE WANTS. HERE Is THIS Whitney Balliett, The New Yorker “ONE WOULD HAVE To THUMB. VOLUME OF THE COMPLETE Commovore Jazz RECORDINGS = To SAY VOLUME II IS THE EQUAL OF VOLUME | Is VERY HIGH PRAISE INDEED, AND So IT ‘ pcan aieer ety ; by John W. Miner at the Log ees Wisconsin, Courtesy of the Poteet Bob Hilbert, Joslin’s nd COREE n nee) “A vital collection bound to appeal to anyone who's ever responded to the blues.” Richard C. Walls, Musician his three-CD [five-LP] box from Mosaie reissues a pair of 1960 sessions originally produced by Nat Hentoff for Candid that are truly deserving of the much overused label new sets the frst time e been released in its entirety — even if you have all other versions there are new takes nd completely new titles on these CD ‘Spann’s work for Candid on August 23, 1960, would have cemented his rey pure blues pianist ofthe postwar: had never recorded another note outside of his ‘work asthe leader of Muddy Waters” rhythm section, Hopkins’ 1 Candid sides, recorded November 15, 1960, are the equal of anything he recorded for the revival market. Nat Hentoff thas always enjoyed a reputation as an ‘artists producer, and his light touch allowed! Hopkins talent to shine through. Fascinating “The 14 tunes from this session touch most ofthe rusical bases upon which Lightnin’ Hopkins would build his revival repertoire. This set contains several examples of Hopkins at his pocti best Black Cat, for example, uses a black cat and a white cat a symbols to discuss race relations and the reality of racial privilege and restriction Hopkins” playing and singing is impeccable, and is fascinating to hear early versions of several that woud be part of his repertoire forthe next 20 years, The finest pianist of his generation “After an alternate version of ‘Beat Up Team, the Spann session opens with five blues and bo piano solos that mark Spann forever asthe finest pianist of his generation. Spann’s talent was of such a magnitude that he had no need to show off unnecessarily. Unlike other pianists who ‘work from an established palette of set patterns and motifs, Spann could improvise at will while simultaneously maintaining a picee's traditional melodie and chordal structure. “After these five piano workouts, Spann turns poetic and refletive as [guitarist Robert} Lockwood helps him move through a more melancholy selection of vocal material. “Country Boy,’ ‘Beat Up Team,’ * The Hard Way” and ‘My Home Is In The Delta’ are as introspective and evocative of life in Mississippi as anything the Delta blues ever produced, Lockwood then takes over the vocal chores for four tunes, with his Nid, jazz- influenced guitar work to the fore and Spann ‘assuming more of a supporting role, his solos CALL AND ORDER BY PHO! TOam—Spm (ET) MONDAY: : 203/327-7111 ‘The Complete Candid Otis Spann/Lightnin’ Hopkins Sessions Limited to 7500 worlwide. 3.0Ds [MD3-130] $45, 5 LPs [MA5-139) $4510) fewer ifno less speetacular, The first CD ends with ‘Spann and Bob,” one ofthe few true duets from the sesio, “The second CD comes off fla the brilliance of the first... “Otis? Bus,” ‘Can't Stand Your Evil Ways’ and “Half Ain't Been Told’ are, however, the equal of anything ‘on the first dise “In additcin to th ilasta usie, the box includes an booklet, including a session discography sand wonderfully written notes from Mark Humphrey, with assistance from both Lockwood and Hentoff. The booklet adds great listener's appreciation of one of the most important postwar b Absolutely and "unreservedly recommended, Peter R. Aschoff, Living Blues Se “There's simply no way to fully express just how exciting and educational it is. It goes to the top of the scale in record review ‘terms. . Michael Point, Austin American Stateman feel like shouting, and I sure have so to shout about with Mosaie’s compila Aaron Thibeaux Walker's complete recordings from 1940 to 1954 [Blue Note, Capitol, Rhumboogie, Old Swingmaster, Black & White and Imperial]. The 144 songs inthis boxed set represent the bulk, and certainly most of the best, of the work ofthe blues guitarist who, along [J ed Charlie Christian, ushered in the modern guitar. Admittedly, seven hours of songs that rarely clock in at over three minutes could approach informati averload, especially since T-Bone’s rele tailored and time ased to reach a specific 78 xpm-buying audience Seminal “Walker, a compatriot of and fellow student with Christian, undeniably provided one ofthe blues dain ‘Call It Stormy the original ‘don’t do him justice... By the mid-40s, Walker had collected 4 group of like-minded musicians in Los Angeles to record a series of seminal singles where he corralled the dramatic imagery and energy of the ‘blues into the sophisticated confines of jazz. Yet Walker's recordings are those of a bluesman appropriating jazz trappings, not those ofa jazz player using blues for eomie reli Impeccable ‘Walker's vocal phrasing is impeeeable both in his interplay with his own guitar obbligatos as well as those of the trumpet and tenor. His singing is insouciant and ly, with ahint ofthe sinister. And there's a subtlety inthe snappy arrangements that allows them to swing with the momentum of a Kansas Cty orchestra, whether on tense galloping shuffles or faling-off-the-edge-of:the-world slow blues, Within this slick jazz combo exterior, however, is contained some stunning guitar and piano duets that [reveal] Walker's debt to Leroy Carr and Serapper Blackwell. On more than twor and-a-half dses, on songs lke ‘T'm in an Aveful Mood,’ Triflin’ Woman Blues,’ “T-Bone Shute So Biue Blues" and “Inspiration Blues,” Walker's clear single-note runs, marrow-tingling chords ‘The Complete Recordings of T-Bone Walker 1940-1954 Limited to 7500 worlwide 6 CDs [MO6-130] $90 9.3 [MR9-130] $90 on Fax: 203/329-3526 VISA @ MASTERCARD ONLY, PLEASE ‘The set occasionally gets bogged down when Walker abandons his on highly stylized orchestrations and singing for covers of Nat King ole, Louis Jordan andl even Joe Turner type tunes, but this i minor quibble, Overall, the ‘music is somehow urbane and hip yet dark and sincere. And its elegiae ease should calm any ‘troubled soul Don Palmer, Audio [The booklet includes an essay by T-Bone biographer Helen Oakley Dance, a complete discography through 1954 and rare photographs.) Cnarrtry “On the springboard of these tracks, Baker arced across the jazz mag readers polls and most often walked away with top honors.” Alan Bargebuhr, Cadence he Complete Pacific Jaz Studio Recordings ofthe Chet Baker Quartet with Ruse Freeman isthe logical companion to Mosaie MR4113 which covered the Baker/Freeman quartet's live” outpu Whatever was said about those club and eoncert recordings is also true about these studio tracks, eneept that here the foeus i sharper and the polish higher, Baker's trumpet lines actually crackle with energy and fluent invention on many ‘of the uptempo bop [tunes] ... while his eggshell Iyricism could all but make ballads glow in the dark, Freeman directed traffic from the piano, writing all the originals. Iwasa bit surprised to be reminded that Baker wrote nothing ‘Baker's wispy voice invest Iyries with something lose to sexual sublimation. [remember that college girls visitng our lodgings (this was back in the medieval '50s) would always ask for Chet Baker vocals when faced with the inevitability of jazz on the turntable, On the springboard ofthese tracks, Baker arced across the jazz mag readers polls and most often walked away with top honors His star was to sputter and fade quickly and he ‘was off toa somewhat nomadic European life from the ashes of which he was eventual to rise like a slightly ruptured phoenix until he faced his final window in Amsterdam just a short time ago. Restored faithfully lothing new has been added to Chet's discography this reissue, although some engineering jsadventures have been purged and some items th appear to have heretofore escaped LP issue have finally made it. Lowned the original ‘of many ofthese LPs, They received less than gentle treatment in my salad days, before I understood that the mierogroove was sacred. I's nice to have these sessions restored so faithfully “And Mosaie rolls on. I'm thankful. The enclosed booklets with session by session notes, old Kner “Twe(B] on ltuar a ‘om Diarra Mastens: Q INDICATES OUm NEW G-LPS” ‘The Complete Pacific Jazz Studio Recordings of the Chet Baker Quartet with Russ Freeman Limited to 7500 word 3.00s [MD3-122] $45 44 LPS [MR4-122] $4 seribblings, photos and disco-data make the listening experience more meaningful. The dises themselves things of beauty — quiet, clean, defectfre. The whole operation smacks of i ople investing time and thought in something in which they bel Alan Bargebuhe, Cadence [The booklet contains an insighsfil essay by Will Thornbury, musical analysis by Doug Ramsey ‘and many William Claston photographs from the aetual sessions] CErEerr “Consistently stunning . . . worth going out of your way to hear... establishes once and for all this ‘trumpeter’s place in history.” Thomas Conrad, CD Review 1D Review used to publish an annual survey ofits regular reviewers. One ofthe questions asked was, ‘What are the albums yo would most lke to see reissued on compact dise’ As the jaza reissues poured forth inthe "80s, it became more difficult to think of works conspicuous by their absence from the reissue catalogs. But there was one that [listed every year: Woody Shaw's Rosewood on Columbia ‘Here it is at last — along with all of Shaw's Columbia studio recordings — thanks to Mosaic, the revered mail-order label of Michael Cuseuna and Charlie Lourie Modern masterpioe ‘Shaw made four studio albuons for Columbia (plas alive recording, Stepping Stone, which isn't [Cv] LABLE included here). Rosewood was the first, It was Record of the Year in the 1978 Down Beat Critics Poll, and itis a modern masterpiece. Woody Three is almost as permanent. For Sure! and United have more flaws and fewer innovations, but still contain copious quantities of brilliance these recordings are impor Is. Shaw's work on trumpet y stunning eck. horn, and eornet is consist sound like classically brassy, but his ideas are often off-center A Shaw solo might constantly threaten to go ‘over the edge, but it always provides the satisfaction of lyrical resolution and consonance “Another noteworthy aspect ofthis instrumentation. Ten ofthe 25 euts on these three CDs [four LPs] feature expanded ensembles Shaves sidemen continually outdo themselves Joe Henderson was already established a8 a major ‘voice on tenor sexophone by 1977 and he takes some of his most exciting solos on this dise, Most of the others were unknown to the world at large ‘when these recordings appeared. Some have gone nto highly visible eareers, like Victor Lewis, Steve reand Mulgrew Miller, 11's the freshness of the conception, the quality of the wrting/arranging and the inspiration of the soloing that makes this music important. Not 4 particularly interesting nor original observation to read, perhaps, bt itis worth going out of your The Complete CBS Studio Recordings establishes nce and forall this trampeter's place in history th other major stylist in a direct line of descent: Navarro/Broven/Morgan/ HubbardiShawMarsalis ike all Mosaic projects this was a labor of love. The accompanying booklet contains a moving essay on Shaw's life by Cuscuna, many photographs of the musicians, and exhaustive discographieal information, The digital transfers by Malcolm Addey are meticulous.” ‘Thomas Conrad, CD Review ‘The Complete CBS Studio Recordings of Woody Shaw ted to 5000 worlwide 3.0Ds [MD3-142] $45, 44 Ps (MR 142] $40 DAN MORGENSTERN-— JAZZ Music’s KEEPER OF THE FLAME From the time we were first brainstorming the idea of Mosaic Records, Dan Morgenstern has been a source of great support and assistance, ‘generously providing wise counsel and making the resources of the Institute of Jazz ‘Studies available to us. He has also written ‘many of our finest booklets. Indeed we could not have imagined doing the Commodore project without his invaluable input and writing, His extraordinary memory is matched only by his gentle nature and deep love of jazz. We are proud to call him a friend. bout 15 years ago as « neophyte jazz at the Institute of Jazz Studies. [had the daunting job of researching and profiling for Down Beat the reclusive bop pianist Sadik Hakim. Of course, the task Weighed in with even greater significance: this was to be Hakim’s final shot at celebrity 30-odd years after his contributions to important Charlie Parker and Lester Young sessions, as well as my debut effort for Doven Beat, then the world’s definitive jazz monthly. Heavy? Significant? Gravitational? Only if you believed (as Hakim and I both did) that worlds turned, suns rose, and mighty armies marched to the thunder of this assignment. Dan Morgenstern seemed to understand. hhe mused openly, lating the syllables as if spinning a 78 LP at 33. “Formerly Argonne Thornton. Played on the “Koko" ion. Toured with Moody. Worked with A few recordings on Progressive, Aladdin. I think,” he said, slowly awakening from the trance of the scholar, “we have something here. So began Morgenstern’s ¢ goods on Sadik Hakim. By the ti finished — roughly two hours — he held rare vinyls, yellowed clippings, and a hatful of leads that not only paved this writer's path Jnut which reassured all that here was a knowing, caring associate, who just happens tw head jazz's foremost archival facility, and he's only a phone eall away. Crisin intervention, Dan Morgenstern tothe reseue. Morgenstern has been doing this kind of thing for 16 years as the director of the Institute of Jazz Studies, and more than twice that in his everyday capacity as jazz lover-writer-producer-historian. He has championed jazz for so long, with such dignified passion, that he seems to have always been here — documenting, preserving, presenting the music and materials that comprise the elements of a relatively new, certifiable diseipline of study The philosophical side to what Morg does is not unimportant: it involves the legitimization of an art that only recently ed status and recognition among es on the cultural soundseape. The fact is, this social seal of approval didn't come cheaply. S attitude regarding a form as emotionally tern He has championed jazz for so long, with such dignified passion, that he seems to have always been here. loaded as jazz (which, of course, taps issues as emotionally loaded as race and the rise of. alternative cultures) are like seismie events; rn fault lines realign, some people run for cover while others measure the disturhanee, Morgenstern and the Institute have monitored many such shifts. The Instit of Jaze Studies has been operational since when it was founded by Marshall Le] angen are Stearns, pioneer jazz scholar and professor ‘of medieval English literature at Hunter College. Once the Institute found a permanent home at Rutgers University in New Jersey, in 1966, it began to grow in earnest, expanding its holdings at a pace ‘commensurate with jazz's newfound respectability Morgenstern’s arrival, 10 years later, with his emphasis on technologically assisted reorganization, further cemented the Institute's reputation as a serious center for study; funding and grant monies from «host of sources were finally forthcoming, “Around 1968,” he now remembers, reflecting e Institute and the music have made, “Willis Conover attempting to get jazz recognized with some National Endowment for the Arts support. The thing I recall hearing was, “Jazz? That's nightclub muse. ‘Why should money be spent on that?” the great strides t involved m “Of course, there we the musie was des e people who felt that ving of recognition One reason it was so slow in coming, I suppose, was that it was taken for granted. Jazz. was part of the popular eulture. 1 think that if you elaim that film and jazz are the quintessential twentith-century art forms, then you realize that both had lowly origins, se clitist's perspective. Ittook awhile for the cultural establishment to aceept jazz ‘There was a reluctance to admititinto the inner sanctum. But to the music's great credit, it has survived. Even now, if you took all the support money away, all of us away, it would still survive.” ‘of course, from the Survival cuts close to the bone for Morgenstern. Born in Munich in 1929, just hhefore Hitler was beginning his reign of terror, he was reared in Vienna. There in 1938, he witnessed the transform: everyday neighbors into Nazis. His father, ‘who was on the Gestapo blacklist as an ‘established Jewish novelist, a journalist and. cultural correspondent, fled to Switzerland; ‘Morgenstern and his mother left for Denmark. There, he remembers, that country fell to the Nazis who. attempted to round up the Jews, the Danes, ina most natural and matter-of-fact manner, risked their lives to save ours, ion of ‘They escaped to Sweden, and returned to Denmark after VE-Day. By then, Morgenstern knew that his next stop was going to be America, where his father had lived since 1941, He was filled with images of that distant land. “I knew,” he said in a book of interviews, Creators And Disturbers: Reminiscences by Jewish Intellectuals of New York, “that I wanted to come here and that some day I would. 1 loved Denmark and Copenhagen and I'd have had no problems staying there. But America was the great magnet, ‘That was the place. And it till i. Particularly if by America you mean New York City. But I got areal feeling for New York less from books than from movies. During the war, in Sweden, American movies were the principal fare. In 1941. the Nazis had put stop to them in Denmark, For me, one of the hest things about Sweden (first of all, there were lights!) was that you could go to American films. Thad seen the New York skyline in films, so reaching the port of [New York was a ease of déja vu. But this city is s0 tremendously impressive that you really must be here to take it in. Tas something of an expert on the history of New York. And I knew about Manhattan, particularly 52nd Street, which was just about the first place I wanted to go — Decause it was Jazz Street.” E ly exposure in Copenhagen to live performances by Fats Waller, the Mill Brothers, and the Quintet of the Hot Club of France with Django Reinhardt and Stephane Grappeli had been particularly stimulating for Morgenstern. By the time he arrived in New York in the spring of 1947, at age 17, the 52nd Street seme was still ongoing though no longer at its peak. However, Morgenstern soon found himself frequenting Harlem's nightspots, which were then still hotheds of ereative musical activity. He was lucky enough to befriend trumpeter Hot Lips Page, who provided both the introduction and entry into this brave new world. (Today, he remains indebted to Page: not by coincidence his first son’s middle name is Oran, which was Lips’ real name.) “Hlarlem in those days was open to anyone ‘who was there for a good reason,” he recalls, responding to a question about racial barriers. “If you were hanging out with musicians, you were okay. Of course, there ‘was a cold shoulder now and then, but I felt privileged to be part of it. [was well aware of the extent of racism. Thad just ‘come from a place where we understood about that. But the bonds of human contact, transcended all that thanks to the hospitality of the Harlemites.”” “This stuff we're collecting will be here for a long time to come. It’s good to leave behind something that’s useful and illuminating.” Considering Morgenstern’s background, it is litle wonder that he gravitated to jazz and its greenhouse settings. It almost begs the obvious to suggest that oppressed peoples find in jazz a democratic, life affirming spirit that counters oppression. Indeed, jazz's very beginnings tapped the precise psychic needs of liberation and deliverance. In Morgenstern’s story we see parallels with a host of Jewish intellectuals ‘who were drawn to jazz. Morgenstern, however, managed to fulfil his personal mandate in a variety of media — from the printed page, to the concert stage, through broadcasting channels, in conference halls, and within the academic community. Onee he beeame professionally active in the field — as the New York correspondent for Britain's Jazz Journal, in the late °50s— his mission was to spread the whys and wheres of jazz, replete with all the good cheer the music had to offer. In that regard, he shared a fundamental sense of purpose with someone like Louis Armstrong. (Morgenstern’s second son was Ce] siven the middle name Louis.) Thus, in sup- port ofa strugaling art, the writer's mission rns side by side with that of the musician's Couple that with the desire to formalize the recognition of this music, to bathe it in ‘presentational spotlight that doesn’t just announce its legitimacy or worthiness, but -veals its staunch humanism — its people, its reasons for being. Morgenstern’s eareer has been devoted to just that, Fears before his directorship at the Institute, before his teaching gigs at Brooklyn College and the Peabody Institute, he was co-producing “Jazain the Garden,” the annual concert series at New York’s Museum of Modern Art, and jazz programming for radio and television, The implicit message in all this activity? Academic study is necessary, has its own rewards, but please, don’t forget the groove. There isn’t much benefit to institutional serutiny that renders its subject joyless. Dan's unfailing enthusiasm for the musie makes his work vital. Moreover, he carries his authority quietly, with pride, tucked away like a passport in a breast pocket, close to the heart. There's no mistaking who he is. Perhaps itis just a measure of his determination or focus, but the are of his writing career alone — his authorship of the book Jazz People (for which he received ASCAP"s Deems Taylor Award), his editing posts throughout the "60s at Metronome, Jazz, and Down Beat, his too-numerous-to-mention album notes (he owns five Grammys in that department) — suggests that his life's direction has been virtually prescribed for him, preordained. ‘There’s a certain elegance and symmetry to the path he’s followed — as a thinker, an analyzer, an appreciator. “Lnever really thought in those years of hanging out,” he reveals, “that jazz would become a profession or a vocation. Otherwise, I would have taken lots of notes along the way! [felt that once became a journalist, there tas something to say about all this. I felt that maybe I could help bring it out. I got into this not by design, but by accident. Though I knew that from the start it struck the right chord.’ ‘Today, Morgenstern presides over jazz's foremost research facility and archival collection. The Institute of Jazz Studies Continued on page 20 Continued from page 19 refle ly the personality of its director, Indeed, its openness to t scholars, musicians, media, arts organizations and e ‘general publie is very much in line with Morgenstern’s disposition towards cultural and scholastic naly, the facility has grow his watch, Its holdings ude sound recordings in all formats. books, photos, memorabilia, periodicals, discographies, musical transeripti instruments, taped interviews, dissertations, and th Institute's growth in cee Mosaic stands by its plan than 10 years ago, we started Mosaie with an ambitious agenda of standards and goals that, to thi th day. is still ding force behind everything we do. Important artists. Not just the biggest. he artists we choose are selected for their place in the history of American musi. 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, Nichols and Shaw are regarded on equal terms with Monk, Basie and Cole. Everything you expect. And more. Choosing the artist is only half the battle. ‘The other half is deciding upon a historically iable concept. We want Mosaic sets to be ‘as important, and as eomplete as we ean make them. Our sets include every ificant track that falls within the seope of agiven project, presented in an organized, chronological mann time ever. We go into the vaults of as many record labels as necessary to examine all sally for the first CALL AND ORDER BY PHONE: 203/327-7111 TOAm—spm (ET) MONDAY: recent years has been so dramatic that in 1994 it will be moving to exps quarters now under construetis Library at Rutgers/Newark “I feel that what I'm di something,” he admits, collecting will be here for a long time to come. It’s good to leave behind something that's useful and illuminating. If you ean contribute to that, ouve done something. Jeff Levenson Ce the original session tapes. In addition to all previously issued material, Mosaie sets are usually rich with unreleased tracks and valid alternate takes. It'sno considered the label for fans and collectors who want it all.” Information, photos and more information. ‘To put everything into its proper and fascinating perspective, we commission ‘our booklets and leading authorit supply collectors with all pertinent dates. sonnel listings and discographical formation, Our booklets range in size from cight pages to 64 pages. Photographs from the actual sessions are included whenever possible. Enlightening musical analysis is a matter of course. ‘The best we know how to make. The quali the printing of our booklets. .. the construction of our boxes... . every aspect of each Mosaic set reflects our deep respect for the music of our press and our customers. Limited Editions make important music into important recordings. Mosaie sets are limited to no more than 10,000 worldwide (usually even less). Onee they are all sold we will never make them available again, adding immeasurably to the historical signifieance and future value of the Mosaie sets you buy. [x] ‘The Institute of Jazz Studies isan essential research center and archive ofall forms of jazz recordings, music, materials and literature. The Institute welcomes donations of recordings, books, periodicals, photographs, arrangements, sheet ‘music or any memorabilia relating to jazz. Al such donations are tax-deductible, ‘To make its new, expanded facilities atthe Rutgers/Newark campus more user-friendly, funds, ‘are needed, Tax-deductble contributions can be sent to: Institute of Jaz Studies, Rutgers University, 135 Bradley Hall, Newark, NJ 07102. tenet of ours. Mosaic CD sets are priced at $15 per dise Our new audiophile Q-LP sets are p . while our older LP sets remain at $10 per dise. The booklet, the box and the service come to you at no additional charge. 813 per d Our critically acclaimed, deluxe boxed sets contain the same music whether you order your sets on CD or LP. With the same formative booklet (not a scaled-down CD pamphlet). In the same sturdy 12” x library box. With the same limited-edition collectability 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 n ‘of the Mosaie family, not a switchboard order taker. You may pay with VISA or MasterCard, a check drawn on a U.S. bank or money order in U.S. currency Furthermore, everything we sell is fully guaranteed. Just say the word and we'll replace a defect amarred booklet . damaged entire set. record even a postal- ‘That's the way we first set out doing business And by sticking to the plan, we're still in business more than ten years later on Fax: 203/229-2526 VISA & MASTERCARD ONLY, PLEASE “These sides provide revelation upon revelation of Quebec's completeness as a tenor voice.” Peter Kostakis, Down Beat the late 1950s, long playing reeords had become standard, but some labels still ruleased a few jazz singles, modern offspring of the old three-minute 7Bs. ‘Some of the last jazz recorded spevifically for the jukebox trade has been collected on The Complete Blue Vote 45 Sessions of Ike Quebec Tenor saxophonist Ike Quebec had gone unrecorded for six years before he made the first of three sessions heard here, Taped in 1959, "60 and °62, all three dates involved small groups with an organ player — either Edwin Swanston, Sir Charles Thompson or Eael Vandyke. The classic organ combo plays soulful, no-frills jazz which has never enjoyed much eritieal praise Partly that's because organ groups flourished almost exclusively in noisy saloons Emotive blues and standards ‘But organ combos, which echo the music of the black churel, ean create stark backdrops for a testfyin’ tenor saxophone. If hartenders minister to the soul, Ike Quebec's emotive blues and standards must have been perfect accompaniment to evening services — a point reinforced by ti like “Zonky,’ “Buzzard Lope’ and “Dear John His “Blue Monday,’ with Skeeter Best on guitar is music for folks who see the world through the bottom of agin glass... But his solos stand up «quite well in the daylight of sober analysis. You ‘can, if you wish, note his excellent ear, abiding respect for melody, variety of singing attacks, ind his rhythmically persuasive gestural simpli The Complete Biue Note 45 Sessions of Ike Quebec Limited to 7500 worldwide, 2 Ds [MD2-121] $30 3 LPs (MR3-121] $3000) fen Guctuah CBs wave Btn sasvene® raon A On Diarra Masrens: Qinoicaves Out NeW G-LPs But you don’t think about such hightoned stuff when The Quebee is playing Mosaic Records’ three-LP/t Quebec's Blue Note 45s — almost half of whieh Appear here forthe first time — is atypically classy Mosaie box: extensive liner notes and a tlseography put the music in historical context, and the vinyls a quiet as vinyl (0-CD set of Ike ts ha meticulous reissue of lowly ginmill music implies that jazz fans, lik film scholars, have learned not to dismiss any genre as worthless, but tolook for the good work done within it. On his organ combo 45s, The Quebec’s majestic sound transcends both the settings in which be recorded, ‘and the settings in which he was apt to be heard.” Kevin Whitehead, National Public Radio Grrrl “Be adventurous. Turn up the volume. Become enveloped. Break your lease.” Dick Lewis, CD Review Tinchss anche te great Kenton controversy since his death in 1979; so much sothat, unless you were thereat the time (and, truth to tell, for the most part I wasn’t wonders what all the shouting was about. Its ‘easy to forget just how imposing a figure Stan Kenton was on the big band seene throughout the 405,506 and “60s... But in his heyday he \was canonized, ot vilified — everyone had an opinion, and there was no middle ground Musically, he reached dazzling highs, and monstrous lows ach Kenton orchestra nevertheless lived or lied on the strength ofits compositions... To truly understand the Kenton legacy today, what's needed isa series of reissues, programmed by And that’s just what the ever-industrious mail: order Mosaie Records... has given us with Stan Kenton: The Complete Capitol Recordings of the Holman and Russo Charts (44k), a meaty hunk of Kentonalia from what is arguably his ‘most substantial period, 1950-55 (with a double handful of later Holman charts as anti-climas), Chronologically, Russo comes first, begi with a pair of elasscally-inspired pieces forthe leviathan Innovations orchestra and one (Halls Of Brass’) incredibly virtuosic piece of writing for the same sans strings and saxes, which inaugurated his reputation for experimenta intellectual’ works. Two years later Holman debuted with an equally formal contrapuntal study (‘Invention For Guitar And Trumpet’) bout soon slid into the style of swinging sectional C=] 8 ee aes Shattering myths ‘But —and it's a big but this boxed set rings is in shattering the myths jscharacterizations plaguing the band over these years. Yes, the ‘symphonie™ Russo is fully represented here ... but there are also a surprising number of jaz: arrangements of great subllety (such asthe gorgeous ‘Improvisation’ and °My Lady,’ featuring exquisite Lee Konitz) fand swing... and even, for fun, cheesy slices of ‘commercialism... Ditto for Holman, “Bags’is ‘a sample of undiluted Basie, and “Fascinat Rhythm’ offers an optimism thrown in the face of Kenton’s notorious angst. But there's also Holma od with his through: written “Theme And V Tristanoid vocations “OF All Things" and “Lover Man" he biggest pleasure Stan Kenton: The Complete Capitol Recordings of ‘the Holman and Russo Charts Limited to 7500 copies worauide 4.0Ds (MD4-136) $60, 6 [Ps [MR6-136] $60 1 Excellent soloists ‘Mention ofthe latter brings to mind just how many excellent soloists can be heard here Sims, hot Conte Condoli and Frank Rosolino, the stratospheric Maynard Ferguson, bref, vivid appearances by altists Davey Schildkraut, Lennie Niehaus and Charlie Mariano, and especially, so rvelous Konitz, Then there's a mini set ss by the legendary Chris Connor (and a few later on by the sometimes painfully direct Ann Richards) and ... more than a few discoveries and surprises among the 72 performances collected herein. Pretentious moments? Sure. but keep in mind these people were not merely trying to entertain, but to invent an idiom.” Art Lange, Down Beat [The booklet, .eritten by author Will Friedwald, includes reminiscences by Holman and Russo ‘and rare photographs.) En “This is jazz that burns on energy, spirit and inspiration, and swings on forever.” Jay Cocks, Time Aritecors oti arket, one of the ye Complete Roulette Live Recordings of Ce Basie and His Orchestra (1959-1962) Jazz completsts should have no hesitancy about plunking down $120 for the eight-CD/12-LP box. 8 mother lode that includes 108 previously unreleased lve performances — an essential addition to the Basie canon. ‘But the recordings also are a revelation, even for casual listeners. They eapture the great Kansas City bandleader in fall sin the second prime of one of the most sustained careers in American music, Here he sparks the meticulously calibrated machine that was his so: called New Testament hand in concerts taped in Miami, Stockholm and New York's Birdland elu. ‘Sixtoen men swinging, as the song ttle goes, the ensemble was paced by the likes of trumpeters Thad Jones and Snooky Young, trombonists AL Grey and Benny Powell, vocalist Joe Williams, drummer Sonny Payne and smoking tenor saxophonist Frank Foster. W's group that de Tote on standards (‘Moten Swing, “Smack Dab in the Middle’) and ey Jones and Neal Heft ‘are by turns lusty and languorous, rancous as melodies are hi-jacked by rhyth thrusts, sublime as soloists tease and carry a phrase to its peak, always dynamic and as loaded With surprises asa jack-in-the-box.” Steve Dollar, The Atlanta JournaliConstitution trates joy inits precision Ina “Talk about positive fallout, ‘The Basie band, which had lt up the... "30s, spent the next two decades in swinging respectability before bursting ‘out from under the long shadow of hebop in the late 50s, It was Big Bands' last big blast. The Basie hoys were reinvigorated hy fresh arrangements from the likes of Neal Hefti and Quincy Jones. dazzling solo work from the horn section, and @ new keyboard nimbleness from the Cou himself. “The Atomic Band,” they wer and this magisterial cight-CD (or packs a multimegaton payload: 133 prime live ‘cuts, 108 of them never before released. There's no nostalgia in numbers ike “Li'l Darlin” or the Count's touchstone “April in Paris nota hint of the antique. This is jazz that burns on energy spirit and inspiration, and swings on forever. ‘ay Cocks, Time called, P) set CALL AND onpeR ay phone: 203/327-7111 TOAM-SPm (ET) MONDAY-FRIDAY ‘The Complete Roulette Live Recordings of Count Basie and His Orchestra (1959-1962) “THE ENSEMBLE FEATURED... WAS KNOWN AS THE ATOMIC BAND, AND THESE EIGHT CDs PACK A THERMONUCLEAR PUNCH... IF DANCE ALL NIGHT.” David Grogan, People Pee eee) “Solo piano establishes an intimate rapport between performer and listener. . . throughout this set, the performances are inspired and captivating.” Patrick McCarty. Richmond Times Dispatch hen the Master Jazz label came into being in 1967, founder Bill Weilbacher stated that the company’s purpose was Yo record the musicians who play in the mainstream and pre-bop styles. And, fortunately for Weilbacher, who wrote the background notes for this reissue, his primary ‘consultant, chief liaison, and fellow enthusiast was Stanley Dance, who himself had produced nine remarkable mainstream dates in 1958 for British Decea’s Felsted label. These albums were sube- ‘quently leased by Master Jazz and will probably [=] for eed also be offered on future Mosaie sets, “Between 1969 and 1974, Master Jazz recorded 11 pianists in solo sessions, and al of their work — with the exeeption of Earl Hines Plays Duke Ellington ancl Ram Ramirez’ ‘Rampant Ram’ was released on four single LP anthologies, with the fifth and final one appearing onthe Australian Swaggie label. The first dis in this set is devoted ‘entirely to Hines, who excels throughout, but Rhythm,’ Empty Studio issued “No Blues Today and ‘Panama,’ ‘Blue Skies,’ “Blue Fox’ and ‘Mood Indigo,’ the only track orroseed from the four volume Ellington set, Dise Two consists of four tunes each by former bandleader Claude Hopkins, stride specialist Chiff Jackson, his disciple, Keith Dunham, and veteran sideman Sonny White, a versatile musician as much remembered for his Swing Era recordings with Sidney Bechet, Be Carter and Bile Holiday as he is for his 1950s stint Wilhur De Pars tthe original Jimmy Ryan's titles precede four each by atypically lawless but perfunctory Teddy Wilson and the less renowned CCLff Smalls, once a trombonist and second pianist ier day Hines big band. The final dis opens with two ttle hy Sir Charles Thompson and fou by an obscure lounge-tyled player, Gloria Hearn, and concludes with the 13 varied selections th ‘comprised the original Ram Ramirez album “The accompanying booklet contains not only producer Weilbacher’s aecount ofthe Master Jazz story. but also his revealing recollections of each ofthe participating musicians and the circumstances of their respective sessions. These are presented in the form of italicized prefaces to the late Nat Pierce's critiques and analysis Jack Sohmer, J ‘The Complete Master Jazz Piano Series Limited o 3500 woridwide, 400s (MD4-140) $60 6 LPs [MR6-140] $60 on Fax: 203/323-3526 VISA & MASTERCARD ONLY, PLEASE. MOSALC EDITION Exhibit Your Passion Now You CAN SEE, OWN AND OF LIMITED-EDITION, MUSEUM-QUALITY, FRANCIS WOLFF PHOTOGRAPHIC POSTERS AND PRINTS. Several years ago, Alfred Lion casually happ thou ed to mention that he had been given nds of his partner Francis Wolf's published photographs of ‘and would we be interested in jnaz artist using some shots in the booklets of our uupeor pefor releases? You ean imagine what From that moment on we began incorporating rare Francis Wolff photographs into every Mosaie set of Blue Note material. We enjoyed them almost as much as finding long-forgotten tracks in the Blue Note vaults, And we weren't alone. Our customers deeply appreciated them too. When Alfred Lion passed away in 1987. his wife entrusted the entire collection to us After much thought as to how best to honor the m olff, we decided to begin offering his most visually powerful and historically important photographs to jazz collectors. Mosaic Editions Posters and Prints, mory and the art of Francis W The same eare and pi antics Smemuel Cow nave sacri etetisee ton Artes Om Diairat Masrens-@ inolcaTEs out New O-LPs our recordings has gone into the production of these photographie posters and prints, paper used for our photographic prod yyweight, Grade #1 coated, archival acid-free stock. Mosaic posters will not yellow or deteriorate tion poster is grandehildren’s lifetime ‘The poster imag seanned duotone process u black and gray than st u shadings, giving the photographic im more punch. edition of 3000 is individually 1 is reproduced using a special the colors Though more expensive ht single-color reproduction, s process allows richer lights and Each poster in our limited nbered For connoisseurs and collectors of fine photographic art, we are also makin; available an extremely limited edition of 50 photographie prints, each one individually processed to archival standards by 1 printer Chick Kelton using the consuming, acid-neutralizing washin process he employs for the works of such photographers as Ansel Adams. Seeing these images reproduced in this catalog is no substitute for seeing, and living with, the real thing. Therefore every Mosaie poster is sold with an unrestricted money-back guarantee The Joy of Blakey Art Blakey's infectious joy of playing was never more evident than in this cover photograph for The Big Beat. Here tuneropped, untinted, embodying the c=) essence of Art Blakey and the spirit of his rmusie like nothing else Edition limited to 3000 numbered posters and 50 numbered and authenticated prints worldwide, Poster price: $40 Print price (if still available): $500 Capturing a Colossus Like all Blue Note sessions of that era, the sessions for Sonny Rollins Vol. 2 took place + the lamps and microphones. venetian blinds and patch cords of Rudy Van Gelder’s living recording studio also where this pensive eover shot of Sonny Rollins was taken. Unquestionably one of Wolff's masterpieces. Edition limited to 3000 numbered posters and 50 numbered and authenticated prints worldwide, Poster price: $40 Print price (if still available): $500 Blue Note Coltrane The brilliant Blue Train album, alon this classic Franeis Wolff photo: the only evidence we have of what a Blue NoteiColtrane legaey might have sounded and looked like. The original photograph everely cropped for th photograph as released by Mosaic Th Editions has never been shown to the publie Edition limited to 3000 my and 50 numbered and authenticated prints worldwide, Poster price: $40 Sorry, prints sold out. nbered posters Please note special shipping charges on order form. 2 JIMMY KNEPPER, JOHN HANDY, SHAFI HADI AND BOOKER ERVIN OPEN UP AND SAY “AH UM.” Columbia's 30th Street studio in New York was the May 5, 1959 scene ofthis historie Mingus Ah Um session. Photograph by Don Hunstein. 35 Melrose Place Stamford, Connecticut 0692 (203) 327-7111 fax: (208) 323. NEW: Louis Armstrong, Buck Clayton, Charles Mingus, Serge Chaloff, Don Cherry Buk Rare Us Posrace PAID sravroro, CT Pernt No. 102