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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
This set is on backorder and is expected to be available in the second half of 2014
Limited Edition: 5000 copies
5 CDs - $80.00
Mosaic Records is proud to offer a box set collection of one of jazz music's greatest guitarists; Joe Pass. 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 Joe Pass' skill wasn't just in his ability to move dexterously around the fingerboard. The truly best aspect of his playing was how musical it all sounded. Joe Pass' improvised solos were often crafted well enough to have been melodies in and of themselves creating a unque jazz sound captures in this box set collection.
For Django, with 3 unissued tracks by his quartet with fellow guitarist John Pisano, is considered a must-have in any jazz library. This box set collection 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.
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 which higlights the beautiful tone of this great instrumentalist. 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 in this limited edition box set!
Always clean, articulate, and effective, Pass had unstoppable swing and an ability to create memorable, beautifully-constructed jazz solos. The Mosaic box set 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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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.