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).
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.
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.
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.
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.