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Ltd. Edition 3 CD Sets
“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
"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
“ 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
“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
“ 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
The Complete Pacific Jazz Joe Pass Quartet Sessions (#207)Mosaic Records Limited Edition Box Set
“Some of these quartets – particularly with gospel-charged pianist Les McCann-are as ingratiating and ear-friendly as any first-rate straight-ahead jazz you’re likely to hear.” - Jeff Simon, Buffalo News
Limited Edition: 5000 copies
5 CDs - $80.00
The flowing lines and harmonic complexities of bebop are daunting on any instrument, but they particularly challenge guitar players. Not so Joe Pass, who went the beboppers one better; by finger picking where he figured out how to fill and add bass notes as well as solo.
But Pass' skill wasn't just in his ability to move dexterously around the fingerboard. The truly extraordinary aspect of his playing was how musical it all sounded. Pass' improvised solos were often crafted well enough to have been melodies in and of themselves.
For Django, with 3 unissued tracks by his quartet with fellow guitarist John Pisano, is considered a must-have in any jazz library. This set also includes Catch Me! with Clare Fischer, Ralph Pena and Larry Bunker with an additional 8 unissued tunes , Les McCann's On Time and Soul Hits, 12-String Guitar Movie Themes and his live Joy Spring album with 4 more tracks and some newly discovered Pass sessions.
Always clean, articulate, and effective, Pass had unstoppable swing and an ability to create memorable, beautifully-constructed solos. The Mosaic collection of his Pacific quartet sessions lays out the full range of what this gentle, self-effacing musician could do.
Read More About Joe Pass:
Track Listing, Personnel & Recording Dates »
On a late '60s talk show, Wes Montgomery was asked who his favorite guitarist was. Montgomery said, “He’s sittin’ right over there in your band,” pointing to Pass. This collection from Mosaic will show you why.
- Audio Quality
- Sample Session Notes
In the age of microsizing, every Mosaic Records Box Set booklet is still 11 x 11 inches to allow our customers to appreciate all the extras we put into printing them (and for easier reading).
The original three-track masters for 15 of the 18 sessions on this set survived and were remixed and transferred to digital at 24-bit resolution by Malcolm Addey for a clean, pure sound. Thoroughly researching the original session tapes is a path not only to far greater fidelity but also to discovering unissued material, like the 33 previously unissued tunes here!
Photo Copyright © Protected
Eighteen photos, many from the actual sessions, come from Woody Woodward, Ray Avery, Fred Seligo and Francis Wolff among others.
january & february, 1963
Pass was a prolific improviser, one whose inspirational fountain seldom ran dry. It's no accident that musical quotations -- a device whereby players often tread water while choosing the next direction in a solo -- are almost entirely absent in his improvisations. The copious guitar solos on Pass's first album, Catch Me!, suggests a floodgate suddenly opened. The title tune, which was still titled Forward Pass when this initial version was made, is one of the few Pass originals in the Pacific Jazz catalog. On it, Pass quickly surges along in the stream of his first love, bebop. (The second section in the head borrows structure from Gillespie's A Night In Tunisia.) This version would be issued on a Pacific Jazz 45 rpm single under its original title with Days Of Wine And Roses on the flip side.
Imaginative harmony aside, Fischer's block organ chords on Days Of Wine And Roses add an unintended "lounge" feel to Pass's earnest bossa treatment. Conversely, Fischer's sure-footed piano solo on You Stepped Out Of A Dream ends with an out-of-tempo passage that reveals his rhythmic mastery. Pass's articulation is always clean. His nylon string treatment of But Beautiful makes clear that Pass understood the effectiveness of space and resonance.
Mood Indigo may be Pass's first recorded Ellington tune. Ellington historian Patricia Willard says, "Duke never proclaimed any guitarist as his favorite but he loved playing with Joe Pass. When they did that album, Duke's Big Four (Pablo, 1973), Joe's playing energized Duke. After it was over Duke said he sure wanted to work with Joe again." After Fischer moves his solo into waltz time, Pass brings the tune into blues territory.
The rest of the material by this quartet is previously unissued. On It's All Right With Me, a bopper's favorite, Pass strums the theme and then lets it ride on the solo, where Bunker keeps the flame high in changing and creative ways. Pass gives a master class on nylon string plucking at bright tempos on a swinging Deep Purple and the sprightly Tangerine. There Will Never Be Another You illustrates how Pass paid attention to melody. Bunker gets a groove going on his ride cymbal on Bags' Groove, where Pass, on electric guitar, plays with understated dynamics. Pass plays the verse rubato on No Greater Love before the band kicks in. Tatum's influence can be detected in his single-note explorations. Fischer seems to decline the solo space offered to him on The Night Has A Thousand Eyes so Pass burns brightly without being flashy.
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"This is the Joe Pass to get. For Django is of course classic, and the sessions with Clare Fischer and with Les McCann are a real pleasure. And I like having the added Joy Spring tracks."
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