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Mosaic Selects
Ltd. Edition 3 CD Sets
Running Low



“While Mosaic never does wrong, this set is absolutely perfect. Three CDs of Andrew Hill, almost all of it previously unheard by the public. While these sessions probably sat in the vaults to lack of commercial viability at the time, they are every bit as good as Hill's contemporary Blue Note releases that have been released. Some of the lineups are chock full of heavy hitter sidemen- Sam Rivers, Lee Morgan, Woody Shaw, etc. Overall the set is a good indicator of the diversity of Hill's compositonal ideas in the late 60s. He is heard in large group settings, trio settings, and most amazingly working with a string quartet. I find the string quartet sessions to be the most remarkable on the set.” - Customer Review


Mosaic Select: Andrew Hill


"A remarkable burst of creativity over a two week span. Of course the Chet Baker reunion is marvelous. The Vinnie Burke strings are a great complement to Mulligan. I have to admit I was a bit worried about it. To be honest, while I love Gerry, I really bought this set for the Annie Ross session. Just fantastic! Her version of "I Feel Pretty" was worth the price for me. Transcendent.” - Customer Review


Mosaic Select: Gerry Mulligan


“ I've been purchasing Mosaic sets since the 90s and this is among my top five. Tyner's vision comes into focus on these sessions--powerful piano, extended modal songs, Eastern influences, and beautiful melodies. Remastering is top-notch as are the sidemen throughout.” - Customer Review


Mosaic Select: McCoy Tyner

Mosaic Singles
Neglected Gems
Running Low


“This is such a great session. It is still so surprising that this lineup of the Messengers is overlooked and underrated. This lineup deserves to be heralded as one of Blakey's best alongside the Golson/Morgan/Timmons/Merritt '58 and the Shorter/Hubbard/Fuller/Walton/Merritt or Workman '61-'64 lineups. And, of course, this set has all of Mosaic's usual exemplary production hallmarks.” - Customer Review


Art Blakey - Hard Bop


“ The mastering on this disc is fantastic. Excellent sonic clarity all around. That, combined with Lloyd's great sense of melody and forward-thinking songwriting make for a satifsying listening experience. Lloyd's cool and progressive style is a joy, and the interplay between all the band members is superb. Tony Williams was one of the funkiest jazz drummers around, too! Buy this and you will find yourself seeking out more Charles Lloyd. Not to be missed! ” - Customer Review


Charles Lloyd - Of Course, Of Course

Sally’s Music Store

I guess it was about 25 years ago, while hosting two weekend jazz programs on WYRS (later WJAZ) here in Stamford, that I first met up with someone who presided over a record shop that was both quaint and stockpiled with LPs and later CDs. Sally White’s store, Sally’s Place in Westport, Ct., is still there selling everything you could want in music but her specialty is jazz. I would go there to beef up my collection for airplay back in my radio days and today I still go there. A Jazz Listener’s Thoughts blogspot features a nice tribute with a link to a local video tribute to Sally worth watching.

- Scott Wenzel

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Miguel Zenon: A Different Kind of Jazz Work

In this Boston Globe article, saxophonist and composer Miguel Zenon describes the recent multimedia work he has conceived to depict his vision of the Puerto Rican diaspora. Combining video interviews, video creations and music, it’s at once a departure from the conventional notion of jazz composition, or even long-form composition, but in many ways a natural outgrowth of the art forms Zenon has investigated and championed.

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Tadd Dameron: One Of Music’s Great Composers

Tom Reney’s essay on New England Public Radio’s site evokes the success and disappointments of the extraordinary Tadd Dameron, a composer and arranger who contributed mightily to big band at the end of the swing era and to be-bop at its inception. Although a forgotten master, there are those who won’t let his memory or his music be forgotten.

-Michael Cuscuna

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In the room with the Mary Halvorson Quintet

I was glad to see this NPR Tiny Desk Concert featuring Mary Halvorson’s Quintet. Her strong group occupies an intriguing region, observing hard bop configuration and presentation, but her compositions transport the music to open and unfettered textural and harmonic spaces that are entirely her own. She’s an original, and a welcome voice.

-Nick Moy

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Jazz Literature: Riding On A Blue Note – Gary Giddins

”Jack Teagarden, the best trombone player in the world, just blew into town from Oklahoma City.”– Pee Wee Russell in a 3A.M. call to Bud Freeman

I never saw Jack Teagarden except in films. He’s always seemed unreal to me: a sheet-white face chiseled as abruptly as a cigar\u00ad store Indian’s-some thought he was Indian, though he was actually of German descent-and a towering but modestly carried frame. He had black slicked-back hair, and when he smiled his eyes and mouth formed two parallel slits. You can see him per\u00ad form “Basin Street Blues,” which he played and sang nightly for twenty-five years, in a Mickey Rooney film called The Strip He appears as a member of Louis Armstrong’s 1951 All-Stars, with Earl Hines and Barney Bigard. Something about his presence matches the restraint in his music. He seems shy and distant, professional but tired, pleasant but mechanical.

When Teagarden died in 1964 at the age of fifty-eight, his place in jazz seemed assured. Leonard Feather wrote in The Encyclopedia of jazz in the ’60s) “Always years ahead of his time, the possessor of a wholly individual sound both as instrumentalist and vocalist, he ranks with Armstrong, Beiderbecke, Coleman Hawkins, and a handful of others as one of the unquestioned titans in the history of jazz.” Martin Williams, in his Saturday Review obituary, placed him similarly in the “advanced guard” of the ’20s. Indeed, the prose temperature he inspired was consistently warm, patient, and frankly prejudiced. He was the subject of possibly the only noncritical cover ode ever published in Jazz Review as well as two fan bio\u00addiscographies; in a lyrical 1962 review, the New Yorker’s Whitney Balliett concluded, “Bless Teagarden, and may he prosper, too.” His admirers apparently identified pretty strongly with him.

I started listening to Teagarden shortly after his death and became an instant enthusiast, marveling at his technique and sound, his cool, finding in it a complete personality at the service of material, time, and place. He was nothing if not emotionally honest, and part of the reward of listening to him, especially his later work, was his detached yet vulnerable strength. The performance level was astonishing; no matter how wretched the material or arrangements, Teagarden’s trombone was implacable. But at the same time there was something private and wounded- that oblique sensibility, perhaps, that white jazz fans respond to in some white jazzmen, sensing a bond of recognition and safety in a black and exotic music.

A Condonesque ensemble might be brimming with Dixieland cheer, but when Teagarden’s trombone attains the spotlight it evokes another world. He was always himself regardless of the musical setting. Teagarden’s lazy time, the casual triplets percolating unexpectedly from his warming Texas blues riffs, the technical aplomb, the richly powerful but pliable timbre, and the forthrightness of his solos all served to illuminate his moods. He was the perfect foil for Louis Armstrong, an incisively muted counterpoint to Louis’s thousand wattage.

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You don’t get to heroic stature as a jazz musician without establishing a genuine connection to your forbears.

Chris Potter has emerged over the past 15 years as one of the most engaging and creative tenor saxophonists today. Like Mark Turner and Marcus Strickland and others of that generation, Potter seems to need a number of different ensembles to realize and express everything he’s hearing as a saxophonist and composer.

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John Coltrane’s Neighborhood: Philadelphia as Post-War Jazz Capital

All About Jazz  is hosting a series of articles about the Philadelphia where John Coltrane spent his formative years. And not just Coltrane: the Heath Brothers, McCoy Tyner, Jimmy Smith, Philly Joe Jones, Benny Golson, Lee Morgan and Reggie Workman, among many others. In this article, Rob Armstrong revisits the Philadelphia local culture that, as Odean Pope asserts, harbored the most important US jazz scene between World War II and the mid 1960s.

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Cecil Taylor, Alone with the History of Jazz

This fascinating documentary clip is loaded: Cecil Taylor summoning the spirits of Charlie Parker, Dizzy Gillespie, John Coltrane, Derek Bailey, Judy Garland. And of course, there’s Cecil himself, whose explanations make it all seem so, well, simple.

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The Singular Sound of Yusef Lateef

Doug Ramsey provides a link to a two-hour edition of Nick Spitzer’s wonderful syndicated radio show“American Routes”. Robert Randolph, Clifton Chenier, Aaron Neville, Lena Horne and the amazing 92-year-old Yusef Lateef are covered on this wonderful program. Doug also unearthed a 1963 kinescope of Yusef playing the blues (on oboe!) with the Cannonball Adderley sextet. The rhythm section is Joe Zawinul, Sam Jones and Louis Hayes.

-Michael Cuscuna

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Michael Brecker- Interview, Lecture & Performance e

Randy Brecker used to sing the praises of his younger brother Michael when Mike was still a college student in Indiana. And when Mike finally came to New York and joined Randy in Horace Silver’s quintet, the band Dreams and Billy Cobham’s group, he more than lived up to his brother’s advance praise. A beautiful person and a magnificent saxophonist, Michael Brecker left us way too early after a handful of agonizing years in search of a bone marrow match. This lengthy 1984 talk and performance at North Texas State makes us miss him all the more.

-Michael Cuscuna

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Special Sales
Last Chance Offerings
Noteworthy Jazz News

Upcoming Release

John Coltrane (3 LPs)

No Other Complete Session By The Classic Quartet Has Survived


New Releases

Earl Hines (7 CDs)



Classic Earl Hines Sessions 1928-1945 (#254)


Listen To Clips

Play: G.T. Stomp
Play: A Monday Date

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Charles Mingus (7 CDs)



Charles Mingus - The Jazz Workshop Concerts 1964-65 (#253)


One Of Our Most Significant Releases Ever From One Of The Few, True Geniuses - Charles Mingus

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Clifford Brown &
Max Roach (4 LPs)


The Clifford Brown & Max Roach Emarcy Albums (4 LPs)(#3004)


"Brown’s solos, which marry the technical mastery of Dizzy Gillespie, the melodic flow and big sound of Fats Navarro, and a determined optimism all Brown’s own, became touchstones for a generation of young trumpeters; but Roach’s contributions are equally important and made a similar impact." - Bob Blumenthal, liner notes

Recent Releases

Coleman Hawkins

The man whose innovations elevated saxophone to its rightful place in jazz is finally getting the retrospective he deserves.

Classic Coleman Hawkins Sessions 1922-1947 (#251)


Jimmie Lunceford


The Complete Jimmie Lunceford Decca Sessions (#250)

Neglected Swing Giant Lunceford Gets His Ultimate Tribute.

Modern Jazz Quartet


Complete Atlantic Studio Recordings: The Modern Jazz Quartet 1956-1965 (#249)

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.

Jazz Icons (DVDs)



Jazz Icons 6 DVD Box Set: $99.98
Six Stunning Historically Significant Performances

Last Chance

Sonny Stitt:
Last Chance


The Complete Roost Sonny Stitt Studio Sessions (#208)

Pure, Swinging, No-Frills Modern Jazz

Francis Wolff

Limited Edition Photographs


Selected images became the album cover shots for Blue Note's brilliant designer Reid Miles, and are instantly recognized by millions. Now, museum-quality prints in limited editions can be owned forever... But only by a few.

Each image will be made available for one month only. At the end of that month, only the images ordered will be printed and that will be the end of the Limited Edition. The Clifford Brown and the Dexter Gordon photographs have sold out and the next print in this series will be available in June.

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Donate to JFA
   
"... I cannot imagine turning our backs on the very people who gave their lives, their life experiences, and the music to us all these years especially now when they need us most, that's what the Jazz Foundation does." -Quincy Jones