Trumpeter Maynard Ferguson led his greatest big band during the years that he was signed to Roulette and all of the music from his 13 Roulette LPs (plus 11 previously unissued selections) are included on this deluxe limited-edition ten-CD box set. Although three of the LPs were originally recorded as dance records (and stick close to the melodies), this box as a whole finds Maynard at his peak and with an orchestra that includes such talented soloists as trombonists Slide Hampton and Don Sebesky (both of whom contributed arrangements), altoist Lanny Morgan, the tenors of Carmen Leggio, Willie Maiden, Joe Farrell, and Don Menza, pianists Jaki Byard and Joe Zawinul, and drummer Rufus Jones in addition to the leader. The music is very jazz-oriented and contains more than its share of classic moments, particularly the sessions that resulted in A Message From Newport and Newport Suite. It's highly recommended.
Pianist George Shearing, whose vibes-guitar-piano-bass-drums quintet was one of the most popular in jazz throughout the '50s and '60s, seemed to have had a dual career while signed to Capitol. While his studio recordings often found his quintet augmented by strings, voices, brass, and/or Latin percussion in performances closer to mood music (or even Muzak) than jazz, his live engagements were definitely in the cool/bop vein…
That sound. One group conceived it. Defined it. Perfected it. The Modern Jazz Quartet was certainly one of the most distinctive voices in the history of jazz, thanks to the unique qualities of personal expression and collective vision of its members Milt Jackson, John Lewis, Percy Heath and Connie Kay (who had replaced original drummer Kenny Clarke by the time the band started recording this music). They were also exceptionally prolific during their tenure at Atlantic Records, producing 14 albums in eight years. And now, that MJQ sound gets the complete respect it deserves, thanks to our new box, The Complete 1956-1964 Modern Jazz Quartet Atlantic Studio Recordings.
To say that this limited-edition six-LP Mosaic box is overflowing with classics is an understatement. Included are a variety of small-group sessions (with overlapping personnel) from the early days of Blue Note. The Edmond Hall Celeste Quartet has five songs that are the only existing examples of Charlie Christian playing acoustic guitar; clarinetist Hall, Meade Lux Lewis (on celeste), and bassist Israel Crosby complete the unique group. The king of stride piano, James P. Johnson, is heard on eight solos; other combos are led by Johnson, Hall (who heads four groups in all), trumpeter Sidney DeParis, and trombonist Vic Dickenson (heard in a 1952 quartet with organist Bill Doggett).
Centered around the Byrd/Adams Blue Note dates Byrd in Hand, Chant, Royal Flush, The Cat Walk, and Off to the Races, Mosaic's Complete Blue Note Donald Byrd/Pepper Adams Studio Sessions finds the Detroit natives at the top of their game during 1959-1962. Writing and performing some of the most original and tight hard bop around, Byrd and Adams led a variety of combos that featured the likes of Herbie Hancock (his first session), Wynton Kelly, Duke Pearson (who also contributed material), Charlie Rouse, Sam Jones, and Billy Higgins. From distinct covers ("Lover Come Back to Me") to seamlessly complex originals ("Bronze Dance"), Byrd's pure-toned trumpet and Adams' angular baritone unexpectedly make a perfect match. And beyond a wealth of sides that prove the point, the collection also features – in typically thorough and classy Mosaic fashion – some stunning session photos by Blue Note lensman Francis Wolff and an extensive essay by Bob Blumenthal. A hard bop experience of the highest order.
A killer collection of this unique musical moment from Gerry Mulligan – with material that appeared on the albums Concert Jazz Band, Concert Jazz Band At The Village Vanguard, A Concert In Jazz, Concert Jazz Band On Tour Guest Soloist Zoot Sims, and Gerry Mulligan 63 – plus unissued tracks, too! This four disc-set contains all of the existing Concert Band Sessions from May 1960 to December 1962, and makes available for the first time five previously unreleased performances. Some seven others, whose original tapes are either missing or lost, are notated here for the sake of discography. This was, arguably – after and aside from Mulligan's piano-less quartet with Chet Baker – the most visionary music he ever made. It eclipses his nonet recordings of the 1950s because of the sophisticated charts written by trombonist Bob Brookmeyer, and the writing Mulligan was doing formed the strength of this band – though this is not immediately apparent at the outset of Disc One. The set commences with a version of the band that included six brass, four reeds, Mulligan on baritone (and piano occasionally), bass, and drums.
Under the watchful eye of famed producer Michael Cuscuna, this nine-CD set serves as a compilation of Stitt's 1950s and 1960s Roost LPs. This release also features a 28-page booklet consisting of comprehensively annotated liners. Moreover, the record label does its best to convey the artistic element via a series of black-and-white photos of Stitt and his sidemen amid anecdotes by many of the late saxophonist's affiliates. Interestingly enough, seven of the original LPs did not list personnel. In some instances, guesses were made, although most of these tracks are well-documented, thanks to the producer's diligence and painstaking research. Artists such as drummer Roy Haynes, bassist/composer Charles Mingus, and pianist Harold Maber represent but a few of Stitt's accompanists.
Johnny Smith is an exquisite jazz guitarist known mostly to fellow musicians and serious jazz fans. This beautifully packaged and expertly annotated eight-CD limited-edition boxed set from Mosaic includes his complete small-group recordings for Roost, most of which have languished out of print for decades. Smith's unique voicings on his instrument set him apart from other players, yet he maintains a lush, crystal-clear tone no matter the tempo or setting.
This is the one that started it: Mosaic, recorded in 1961, was the first recording of Art Blakey's Jazz Messengers as a sextet, a setting he kept from 1961-1964. The band's front line was trumpeter Freddie Hubbard, trombonist Curtis Fuller, and tenor saxophonist Wayne Shorter; Cedar Walton played piano and Jymie Merritt (a criminally underappreciated talent) was the bassist. Everything on this set was written by the musicians in the band. Walton wrote the burning title track; its blazing tempo and Eastern modes were uncharacteristic of the Jazz Messengers sound, but it swings like mad. Hubbard contributed two pieces to the album, the first of which is the groover "Down Under," with its blues gospel feel…