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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 Roulette Sarah Vaughan Studio Sessions (#214)Mosaic Records Limited Edition Box Set
“Not unlike July 4th fireworks, bursting forth on 8 CDs you will be easily overpowered as you are swept away to a time when Sarah was at her most pure and consistent. The transfers are remarkably clean and actually ear shattering.” - Dan Singer, In Tune International
Limited Edition: 5000 copies
8 CDs - $128.00
With This Long-Overlooked Collection
Listening to this music in its entirety, you hear how the simplest tune could become the canvass for a singer's art. And understand why fellow musicians appreciated her talent. Vaughan could hit a note head on and hold it, pure and clean. Or, at her command, add a pretty vibrato. A wide range allowed her to soar in the upper register, and roar down below. All with a luxurious, rich, buttery roundness.
This set contains a huge number of jazz classics and popular standards that everyone will recognize - songs by Monk, Adderley, Ellington and Waller as well as Rodgers and Hart, Gershwin, Van Heusen and Arlen. Her arrangers included the finest the era had to offer - Jimmy Jones, Gera Wilson, Quincy Jones, Lalo Schifrin, Benny Carter and Billy May among them.
Among the 13 albums on only 8 CDs are these three classic releases:
• Count Basie/Sarah Vaughan: It's a delight to hear Basie's band behind her duets with Joe Williams on "If I Were a Bell" and "Teach Me Tonight." Talk about singing your heart out - those two seemed to push each other just a measurement more.
• After Hours and Sarah + 2: For a singer known for adornment and filigree, these two albums were probably her most relaxed and easy-going recordings, backed only by guitar and bass.
You really can't hear what she was doing if you think only about other singers. You have to consider the horns to get a sense of her influences and the way she experienced music. From take to take or version to version of the same song, Sassy could deliver a completely new and original interpretation. Hearing her with Earl Hines, saxophonist Teddy Edwards said, "She had great feeling, and great facility to execute this sound. She had all the components, man."
Read More About Sarah Vaughan:
Track Listing, Personnel & Recording Dates »
"Vaughan couldn’t have imagined that one day, almost every note she had recorded for Roulette would be reissued. All through this set are suggestions that for her, music was a fairy-tale escape from every care, full of beautiful sounds, a dreamlike affinity with the men around her, and limitless room to soar." - James Gavin, liner notes
- 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).
Three of the twenty sessions covered in this set were recorded in stereo. The rest were recorded in three-track or four-track and, in every case, we were able to return the original master and remix them without the excess reverb, piercing high-end and compression that marred some of the original LP releases. Malcolm Addey remixed and mastered this set in 24-bit
Photo Copyright © Protected
Many of the photographs by Ray Avery and Chuck Stewart were taken at the actual sessions in the set.
The Explosive Side Of Sarah Vaughan Sessions - August & September 1962
Key Largo and When Lights Are Low, which also appears on Sarah + 2, were composed by Benny Carter, a venerated man of jazz. One of the music’s “two or three foremost alto saxophonists,” as Leonard Feather called him, Carter was equally acclaimed as a bandleader, and had led various orchestras since 1933. After years on the road, he had settled in Beverly Hills, where he arranged for Peggy Lee and other singers, scored the Alfred Hitchcock TV show, and made his own records. Reig worshipped Carter, and invited him to arrange a swinging big-band album, The Explosive Side Of Sarah Vaughan.
Recordings that unite such stellar artists tend, with time, to take on a historic veneer. But many of them were hastily made, and end up barely remembered by the participants. Asked in 2002 about The Explosive Side Of Sarah Vaughan, Carter, who was then 94 and as sharp as ever, couldn’t recall much. “It was just another gig, you know?” he said. “I’d find time to do it, when they were writing the check. But doing something with an Ella or a Carmen or Sarah Vaughan – that was certainly special.”
Carter may have met with Vaughan, whom he barely knew, to settle on keys, but he wasn’t sure. Once in the studio, she breezed through everything. “You didn’t need much rehearsal time with her,” said Carter. “She knew what she wanted.” His splendid work reflected the swing era, when melody reigned and when arrangers enhanced, not superseded, a composer’s intentions. As a songwriter himself, Carter knew how to write catchy countermelodies, intros and tags; he set off Vaughan’s phrases with witty fills from a richly-voiced reed section. The singer’s delight is obvious in After You’ve Gone, from her wild wordless opening to a high-flying tag. . (The tenor sax break is provided by Plas Johnson, who played Henry Mancini's sly theme throughout the soundtrack of The Pink Panther.) Added to this box set is an alternate version of The Lady's In Love With You, performed at a much easier tempo than the album take.
John A. Tynan called the album a relief from her “less than distinguished” recent output. “Miss Vaughan proves she can handle the most breakneck pace with ease,” he noted in Down Beat. “And her work on such as the closing Nobody Else [But Me], with its tasteful phrasing and ever-grooving swing, keeps her where she’s always really belonged – right on top.”
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"I have just heard the audio sample from the site and everything around me started to hum. O lord! She is even better than I remember her from other sessions."
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