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Perera Crt ct a acer CUT Rrra Deemer CN Cee aOR CORT effort and care into might never go out arts Teh Co oC ea Ceca A Geer Coen rae tata Pacific Jazz, Atlantic, Columbia, RCA, COME NM Comey om ATER eo STC] of our Benedetti/Parker set (which is not a limited edition), we lease all of our recordings from other record companies. Sa eCoR Cama Cet ae tenant CR nee Rey ROT Com ORO Co eR once OC ROR CUES CORR se ct eee) to keep a set in our catalog. WHAT THIS “LAST CHANCE” PT fet at is the current batch of Mosaic limited editions that are about to go out of print. Rees CT een cnet acayTTE almost certainly no longer be available by the time Mosaic Brochure #11 is issued. We therefore urge those of you who ever hoped to own any of these definitive Co eres Oa ee a 1 SO aes — ae CHANCE HALL/JOHNSON/ Pye ad koa kod They were called the “Blue Note Jazzmen”— any one of them was capable of calling the shots. sion would be Edmond Hall’s Ail Star Quintet. Another day would feature James P. Johnson’s Blue Note Jazzmen. Ona third date, Vie charge. A fourth, and Sidney De Paris’ Blue Note Stompers had booked the room. ne day the From 1941 to 1952, they were the nucleus of > repertory company, and he Complete Edmond Hall! James P. Johnson! Sidney De Paris! Vic Dickenson Blue Note Sessions. Hall virtually talked on his clarinet. De Paris trumpet was reportedly one of the toughest trumpets to cut in Harlem jam sessions. Dickenson didn’t just participate in tradition, he nearly was one all by himself, staying active on trombone more than 60 years. “The greatest pianist” And who was the greatest pianist in jazz? According to Duke, Basie, Hines, Tatum, Fats, and Willie The Lion, it was Johnson, the great stride pianist who was such an important transitional figure between agtime and jazz. Sidemen include Charlie ian, Red Norvo, Teddy Wilson, Harry Carney, and Ben Webster. A festival of styles Get ready for a festival of New Orleans, stride, swing, third stream, and every combination imaginable. Four CDs include 13 unissued tracks, six available only on 78s, and most of the rest scattered across little-known anthologies. Where possible, the original nsferred for added arity and purity. CALL AND ORDER BY PHONE: 203/327-7111 10aM-SPM (ET) MONDAY-FRIDAY ‘THE COMPLETE EDMOND HALLIJAMES P. JORNSON! Pere rt tc The Complete Edmond Hall/James P. Johnson/ Sidney De Paris/Vic Dickenson Blue Note Sessions 4 CDs [MD4-109] $60 Already sold out on LP. The booklet includes analysis, a detailed discography, photographs, and more. cannot really convey the overall of the jazz music contained in this John Nelson, Mississippi Rag “‘A rare opportunity to hear [Charlie Christian] on acoustic guitar instead of the electric.” John S. Wilson, The New York Times ““Tireless and endlessly inventive at any tempo, Johnson shows us how rich the stride heritage is in ‘Carolina Balmoral, * ‘Mule good records no matter who el . As Dan Morgenstern’s exc notes point out, DeParis had a light skipping style full of humor and surprise . . . Dickenson plays superbly throughout . . .” Frank Driggs, Audio OR FAx: 203/323-3526 VISA & MASTERCARD ONLY, PLEASE, GEG “It seems like you either have to be an Uncle Tom or a drug addict to make it in jazz, and I’m not either one.” cording to Herbie Nichols, who ly ignored by his peers, the record fame eluded him, inspiration didn’t; pianist and compos Herbie Nichols wrote over 100 original and complex jazz compositions (mixed in with poetry, operas, theater pieces, prose, and classical musi Imagine Teddy Wilson mingled with Monk To paraphrase A. B. Spellman in Four Lives in the Bebop Business, Herbie Nichols’ piano playing has both Teddy Wilson’s elegant clarity anda unique he spent a lot of his li nd bands. Herbie Nichols ly recorded a few tunes for Savoy, two 10- inch LPs and one 12-inch LP for Blue Note, and a final album for Bethlehem before he died of leukemia in 1963 at the age of 43. Herbie Nichols’ revolutionary music is filled with ind rhythmie density; ming with character. Nearly double the amount of Herbie’s work on record With pride and elation, Mosaic presents The Complete Blue Note Recordings of Herbie recorded in 1955 and 1956 that amount to five LPs or three CDs — nearly doubling the The bassists "Al Mel ‘Kibbon and Teddy Kotick, and drummers Art Blakey and Max Roach. We feel this joyous music is some of the most important ever made. whether LPS HAVE BEEN MASTERED From ANALOG Om DIGITAL MASTERS. [>] The Complete Blue Note Recordings of Herbie Nichols 3 CDs [MD3-118] $45 5 LPs [(MR5-118] $45 [A] The booklet includes an intimate persona portrait and musical analysis by Roswell Rudd. Also included are several unpublis Nichols poems, as well as reprints of hi writings on music, a complete discography of his work as sideman and leader, a wealth of reviously unpublished photographs by Francis Wolff, and testaments from artists who knew him, including Archie Shepp, Max Roach, and Sheila Jordan. #1 Reissue of tl Year “A masterfully assembled remi regrettably ignored artist. It rate unqualified five stars.” Leonard Feather, The Los Angeles Times ly detail of Nichols” itions and the percussive density of chord clusters will startle anyone who hasn’t heard him before. Easily the year’s most significant reissue.” Francis Davis, Philadelphia Inquirer Mosaic Recorps LAS T CHANCE PAUL DESMOND This orga “Dry martinis.” that’s Paul Desmond’s own description of his celebrated sound: the sexy, subtle alto, cutting through the counter-rhythms and affirmative chords of the Dave Brubeck Quartet. Tangible. Minimal. Sophisticated. Straight up. Simpatico setting Now hear that sound in a very different setting. Quieter. Less about contrasts, more about simpatico. Introducing The Complete Recordings of the Paul Desmond Quartet with Jim Hall. Here, Desmond’s lyrical phrases join with the swinging perfection of Jim Halll, the quiet authority of Modern Jazz Quartet drummer Connie Kay, and either Perey Heath, Ge Wright, or Gene C! masterful sides. The quartet sounds like they played together for years, though they never played a single live gig. THE COMPLETE RECORDINGS OF {HE PAUL DESMOND QUARTET Corrs The Complete Recordings of the Paul Desmond Quartet with Jim Hall 4 CDs [MD4-120] $60 6 LPs [MR6-120] $60) CALL AND ORDER BY PHONE: [ 203/327-7111 10aM-SPM (ET) MONDAY-FRIDAY Desmond as leader and musical , whose wit and warmth come singing through his song choices, and his compositions. A great six-year studio matchup The sessions are gathered chronologically into one six-LP/four-CD set, beginning with a 1959 Warner Bros. album and continuing into 1965 with four more RCA albums. Included are a rare title that only appeared on a Playboy Records anthology and 12 previously ied performances from the RCA years. The booklet contains a new essay from Desmond’s close friend, journalist Doug Ramsey, as well as reprints of some of Des nond’s famed dry prose: “I have won ‘eral prizes as the world’s slowest alto player, as well as a special award in 1961, for quietness.” “Jazz is rarely as pretty as this; and jazz this pretty is practically never so full of substance.” Richard Williams, The London Times “It’s a teaming made in lyrical heaven. Entering this world of breathy beauty and ready wit, you'll find it perfectly easy to sail through all cords and then start over again. And Lloyd Sachs, Chicago Sun Times “For all his ethereal sound—one that was cooler than Konitz —Desmond also could generate a passionate sense of urgency, was a musical wit of the highest order and an eloquent poet who abstained from all cliches . .. There are no inferior tracks here. Mosaic gets another five-star rating. ” Owen MeNally, The Hartford Courant “When the award is given for e tasteful control and boundless ly within proscribed and mood, that award must be given to Paul Desmond.” Jack Sohmer, Down Beat “[this set] provides the ideal setting to hear the altoist at his best and to attempt a more judicious appreciation of his talent.” Graham Locke, Wire oR Fax: 203/323-3526 VISA & MASTERCARD ONLY, PLEASE LA Ss T CHANCE aa) etd The Connection should have launched a long recording career for Freddie Redd. Inexplicably, it didn’t. he Connection was an example of jazz ing beyond its accepted platform in clubs and concert halls, As the playwright Jack Gelber conceived it, jazz would be used, live onstage, as an integral part of the dramati show. New York pianist/composer Fre Redd was hired to write and perform the play’s ntemporary score, and when the me an immediate cult hit, Blue on saxophone) made their r debut with the score for The Connection. One strike, you're out For a time, it seemed that Freddie Redd would have a long recording career ahead of him. But the superb follow-up album, Shades of Redd, which featured Jackie McLean to with Paul Chambers, Louis Hayes, and Tina Brooks, did not sell very well, apparently due to the vagaries of popular taste at the time. And Redd’ next session, which included Benny -y on trumpet, wasn’t even released. F ‘reddie Redd was never to record again for Blue Note. A dazzling triple play Today, Freddie Redd is still perforn still known primarily as the man behind The Connection. But as his complete Blue Note sessions demonstrate, he is a superb composer/ arranger and an impeccably tasteful pianist whose entire body of work deserves much wider recognition. Mosaic’s set, transferred directly from the original stereo master tapes, contains everything that Freddie Redd recorded for Blue Note, released and unreleased. Fans of the Shades of Redd album should note that it appears here in stereo for the first time, along with two previously unissued alternate takes. WwneTHen LPS HAVE BEEN MASTE! Prom ANALOG on DIGITAL MASTERS. [=] ord pat Rennie The Complete Blue Note Recordings of Freddie Redd 2 CDs [MD2-124] $30 3 LPs [MR3-124] $30 [Al prest to Mosaic “regulars” is that in addition to expanding the world’s view of Freddie Redd, this release also adds significantly to the preciously sparse recorded legacy of Tina Brooks. ‘The booklet contains an up-to-date biography of Freddie Redd, as told to Will Thornbury. Also included are the original liner notes to The Connection and Shades of Redd, a analysis provided by Ben Sidran, a complete Freddie Redd discography, and rare Francis Wolff photographs from the original Blue Note sessions. “As the ineandescent performances on this handsome anthology remind us, Redd was a relentlessly swinging piano player Jim Mille “The collection reveals something nobody seems to have noticed before: Redd is one of the very best hard bop composers, the equal of Horace Silver, for example, as well as a most ingenious piani John Litwei 1, Chicago Tribune Mosaic Recorps GEORGE LEWIS New Orleans jazz wasn’t dead. And these records proved it. playing in New the same style as Ir. ever, their mission was In May 1943, Bill Russell supervi cording session by cl which, like the ground-breaking 1940 recordings of Bunk Johnson by Heywood Hale Broun and the 1942 Jazzmen sides by Bunk with George Lewis, pro world that all the passion of the New Orleans style had survived intact. When Alfred Lion heard some of the dises, he immediate Atime warp, pure and simple When “Climax Rag” hit the Commodore Music Shop on October 11, 1943, it helped usher in a full-fledged revival of pure New Francis Wolff called it “the ry incarnation of the spirit of New Orleans jazz.” The fact that this was a current, ent all the more me the standard bearer for the true Live for real By 1954, the George Lewis Ba going strong. A radio concert and a concert, recorded in Bakersfield, California that year, were also pu hhased by Blue Note. ‘Then, in 1955, the band made its most professionally produced recordings yet, at Rudy Van Gelder’s studio under Alfred Lion’s supervision. 203/327-7111 10am-SPM (ET) MONDAY-FRIDAY CALL AND ORDER BY PHONE: [ The Complete Blue Note Recordings of George Lewis. Already sold out on CD. 5 LPs [MR5-132] $45 Well, George Lewis was a man after our own heart. At Mosaic, we too believe in keeping 1.25 Climax tracks, 13 of which have never appeared in the U.S., plus both 1954 concerts, with one unissued tune, as well as the Van Gelder tracks from 1955, with four unissued performan issued previously only on a 10- booklet contains a biography of George Lewis by Page Van Vorst, along with a complete discography of this set and rare photographs by Francis Wolff and others. his three-CD (or five-LP) set contains some of Lewis’s greatest recorded work, much of it previously unissued, in a digital remastering that beautifully captures the relentless drive and haunting tone that were his trademarks.” Tom Sancton, Time OR Fax: 203/323-3526 VISA & MASTERCARD ONLY, PLEASE, GRANT GREEN Grant Green, we hardly knew you. ald play the whole Gus Grant Green ct ith a backbe pectrum, from blu the modern experi Blue Note recorded funky setti Unfortunately for the world of jai magnificent sessions weren’t in keeping the soulful image that Blue Note had in mind for Grant Green. So, for nearly 20 years, they remained unissued in Blue Note’s vaults. Then, in the late "70s, news of these sessions —and a reaffirmation of Grant Green’s rk albums were release followed a few years later by two others the U.S. One of Blue Note’s house pianists, Clark had played with the likes of Buddy DeFranco, ne and Dinah Washington. For Grant Green sessions, Clark was joined m Jones on bass and Louis Hayes (or, case, Art Blakey) on drums. On one ion, Ike Quebec was added to the group. Now, for thi these rare performan of Grant Gre purest and best, featuring Sonny Clark shortly before his death of a heart attack at age 32, are being made irety. In addition to ything significant recorded at the four sessions, including several worthwhile alternate are two later performances rk, Ike Quebec, and a tin rhythm section. The booklet includes an essay by Bob Blumenthal and many unpublished session photographs by Francis Wolff. Twe [Rlor[D] rua arrears Arren wnicraen LPs wave SEEN masTeRED Paom Anatog om Dicirau Mastens. cH AN C7] The Complete Blue Note Recordings of Grant Green with Sonny Clark 4 CDs [MD4-133] $60 Already sold out on LP. ‘reen was a master at hinting at ideas, into a blues phrase for a second, only to tail away with a run. Throughout the pieces there’s a feeling that Green saw music mal an art in which each note had to make sen: Peter Watrous, The New York Times pecially when playing with soulmates like Clark, Green could find a groove so magical, an energy so urgent yet natural, that this whole band d Green, in short, could swing wre him on his instrument, and like no one who has come since.” Thomas Conrad, CD Review “Never self-aggrandizing or a player who soloed on for its own sake, he swung effortlessly, with a tone at once smooth and biting, imbuing st of blues, Broadway and bebop with melod that appeared freshly spontaneous while ingeniously constructed. In other words, c Blue No turns Mark Rowland, Musician the fact that Mosaic sets are limited e« now been in business for 11 years, creates a list .ed with the reality that we've this — Mosaic sets that are no longer available. With old Mosaic sets going out of print as quickly as new Mosaic sets are being issued, it’s a list that’s growing rapidly. Use this “Last Chance” brochure to order the Mosaic sets you've always wanted before they join this ever-growing list. [nor] The Complete Blue Note Recordings of Thelonious Monk [102] ‘The Complete Pacific Jazz. and Capitol Recordings of the Original Gerry Mulligan Quartet and Tentette with Chet Baker [103] ‘The Complete Blue Note Recordings of Albert Ammons and Meade Lux Lewis {104} The Complete Blue Note and Pacific Jazz. Recordings of Clifford Brown [105] The Complete Pacific Jazz Small Group Recordings of Art Pepper [107] The Complete Blue Note Forties Recordings of Ike Quebee and John Hardee [108] ‘The Complete Recordings of The Port of Harlem Jazzmen [110] The Complete Blue Note Recordings of Sidney Bechet [113] ‘The Complete Pacifie Jazz. Live Recordings of the Chet Baker Quartet with Russ Freeman [114] The Complete Art Hodes Blue Note Sessions [115] ‘The Benny Morton/Jimmy Hamilton Blue Note Swingtets [116] ‘The Complete Bud Powell Blue Note ordings (1949-1958) 7] The Complete Verve Recordings of the Buddy DeFranco Quartet/Quintet with Sonny Clark [119] ‘The Pete Johnson/Earl Hines/Teddy Bunn Blue Note Sessions [123] ‘The Complete Commodore Jazz Recordings, Volume I [125] ‘The Complete Atlantic and EMI Jazz Recordings of Shorty Rogers [126] The Complete Johnny Hodges Recordings 1951-1955 Mosaic “You’RE THE GREATEST! INCREDIBLE MUSIC, BEAUTIFUL BOXES AND THE BEST SERVICE. (SOUNDS LIKE A CATALOG BLURB TO ME!)” - a customer in New Jersey “I CAN'T IMAGINE THE MUSIC IN MY LIFE WITHOUT THE MOSAICS AROUND ME, AND [THANK YOU] FOR INTRODUCING ME (AND MANY OF MY FRIENDS) TO FREDDIE REDD, IKE QUEBEC, JOHN HARDEE, GRANT GREEN AND MANY OTHERS.” - a customer in New York “LAM ASTOUNDED (OR GOBSMACKED) AT THE RESPONSE OF Mosaic RECORDS TO MY NOTIFICATION OF THE DAMAGE To THE BOX, BOOK AND INTERIOR OF MY KENTON CD SET. To SEND REPLACEMENTS IS OUTSIDE OF MY EXPECTATIONS OF ‘SUPPLIERS NOWADAYS... YOU HAVE ALWAYS HAD A SUPPORTER IN ME SINCE I FIRST PURCHASED MY GERRY MULLIGAN SET (BEAUTIFUL!); NOW YOU HAVE A DISCIPLE!” - a customer in England “YOU ARE DEFINITELY DOING IT EXACTLY THE WAY IT SHOULD BE DONE!” - a customer in California Co Ree ee Rhea s proud as we are of the recordings and Ae in every Mosaic package, and the exhaustive work that goes into finding every last releasable cut, we sometimes get just as much satisfaction out of producing the booklets accompanying the boxed sets. We commission new essays on all the artists. We research little known facts that contributed to making them the awesome musici: ns they became. We track down rare period photographs, often from the actual sessions on the discs. We compile new discographies, correcting previous mistakes and documenting our new discoveries. Often, we are able to solicit remembrances from. living musicians, collaborators and spouses who shed light on these remarkable artists and their recordings. We even reprint or reproduce actual liner notes from first releases, where merited. We honestly believe these booklets could stand on their own as important publications. In other words, we try to make the printed in- formation as complete and enjoyable as the music. pon request, Mosaic will make availabl Ur track-by-track breakdown 0 any set we release, including personnel, tur and recording dates. This is obviously too 1 information to include in our brochures. B it’s yours if you want it. REC eed aaa tot a ne of the aspects of enjoying jazz is she 0: experience. If there’s a jazz lover in your life, the per gift for him or her is a Mosaic collection. T make things easy for you, we offer Gift Certific: tes in any amount you wish, so yo recipient can have the fun and pleasure of selecting his or her favorite sets. Just write “Gift Certificate” and the am: you choose on our Order Form and we'll s: the certificate to you, or to the recipient wi your greetings, as you direct.