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Mosaic Records/Last Chance: Brochure No.10 Bonus
Michael Cuscuna
Charlie Lourie
Edmond Hall
James P. Johnson
Sidney De Paris
Vic Dickenson
Herbie Nichols
Paul Desmond
Freddie Redd
George Lewis
Grant Green
Mosaic Records/Last Chance: Brochure No.10 Bonus
Michael Cuscuna
Charlie Lourie
Edmond Hall
James P. Johnson
Sidney De Paris
Vic Dickenson
Herbie Nichols
Paul Desmond
Freddie Redd
George Lewis
Grant Green
Mosaic Records/Last Chance: Brochure No.10 Bonus
Michael Cuscuna
Charlie Lourie
Edmond Hall
James P. Johnson
Sidney De Paris
Vic Dickenson
Herbie Nichols
Paul Desmond
Freddie Redd
George Lewis
Grant Green
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 a1 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 RecorpsLAS 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, PLEASELA 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 RecorpsGEORGE 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, Musicianthe 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 CaliforniaCo 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.