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.
Three-CD, 75-track box of T-Bone Walker's recordings for the Capitol and Black & White labels in the 1940s. From a historical perspective, this is perhaps the most important phase of Walker's evolution. It was here where he perfected his electric guitar style, becoming an important influence on everyone from B.B. King down. It was also here where he acted as one of the key players in a small combo West Coast bands' transition from jazz to a more jump blues/R&B-oriented sound (though most of these sides retain a pretty strong jazz flavor).
In 1956, Jonah Jones started to become an unlikely commercial success. A veteran swing trumpeter not known to the general public despite being an exciting player, Jones caught on playing frequently muted solos with a quartet at the Embers in New York. His music often featured a shuffle rhythm and mixed Dixieland, swing and show tunes. This first recording by the quartet (also including pianist George Rhodes, bassist John Browne and drummer Harold Austin) was popular, although it would soon be dwarfed by Jones' successes for Capitol. Highlights of the date, which was also released by Groove and Victor, include "It's All Right With Me," "All of You," "High Society" and "At Sundown."
When one thinks of altoist/flutist Bud Shank's recordings of the 1950s, it is normally of his work with Stan Kenton's orchestra or collaborations with Laurindo Almeida or Bob Cooper. However, Shank led a superior quartet from 1956-1958 that also included pianist Claude Williamson, bassist Don Prell, and either Chuck Flores or Jimmy Pratt on drums. This typically magnificent five-CD limited-edition box set from Mosaic has the quartet's four albums (including a set that was recorded in Johannesburg, South Africa), a selection by Shank with a sextet that includes vibraphonist Larry Bunker, and three slightly later sets.
THE COMPLETE QUARTETS WITH SONNY CLARK includes the albums NIGERIA, GOODEN'S CORNER and OLEO as well as 3 additional tracks. This two-disc set gathers together the cuts for three Blue Note sessions teaming Grant Green with Sonny Clark. The first, NIGERIA, was originally release posthumously in 1980 and features Green's only collaboration with drummer Art Blakey. GOODEN'S CORNER and OLEO were both only released in Japan in 1979 and 1980, respectively. The latter two sessions featured Louis Hayes on drums along with Sam Jones, the bassist for all three albums. Luckily these sessions have been carefully restored and release for all to hear.