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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
Classic Chu Berry Columbia and Victor Sessions (#236)Mosaic Records Limited Edition Box Set
“Jazz classics inevitably proliferate here, as a glance at the personnel will confirm.” – Steve Voce, Jazz Journal Int’l.
Limited Edition: 5000 copies
7 CDs - $119.00
We like to think that every Mosaic set adds something noteworthy to the archive of collected jazz. Our sets might reveal more than you ever knew existed from a favorite artist; provide an outlet for our personal love of an overlooked original; or provide, at last, the definitive library of an acknowledged giant.
Those are the measures we aim to accomplish each time out. And then, there are the projects that achieve all of that, and then go further. They seem to define why we open the doors every morning here on Melrose Place; search line by line through hand-written session logs and worn discographies and beg and plead with the owners of recorded masters to release them to us. The Classic Chu Berry Columbia and Victor Sessions is one of those defining projects.
This is a comprehensive collection with countless pivotal sessions. It features 203 separate recordings on seven CDs and collects both the sessions led by Chu Berry and other sessions where he contributed significantly as a sideman. You can study his remarkable surefootedness as a soloist; remember an era where evolution in the music was running rampant and Chu Berry's tenor saxophone was one of the things making it run.
The set includes:
o Teddy Wilson's late-30s chamber recordings for Brunswick that are sheer heaven
o The jazz side of Cab Calloway featuring his unique musical talents
o The incredible recording debut by Roy Eldridge
o Key recordings by Fletcher Henderson
o One of the greatest sessions ever by trumpeter Henry "Red" Allen
o The final recording session by the incomparable Bessie Smith
o A session led by Gene Krupa with Benny Goodman and members of the Fletcher Henderson band.
Our research turned up a dozen alternate takes, never released in any format but all included here. To find some of the rest today, you'd have to amass a collection of French Classics CDs: a series by RCA released in France; whole box sets by Billie Holiday and Bessie Smith; and various Sony CD releases of the Cab Calloway recordings.
Listening to these recordings, there's no mistaking his influence on Charlie Parker (who named his first son for Berry) and every other bebopper, John Coltrane, and a host of other saxophonists today who may not even know from whom the ideas originated. Now, they'll know.
Read More About Chu Berry:
Track Listing, Personnel & Recording Dates »
“He’s one of the fastest, most inventive and creative minds that has ever been in my band. He doesn’t set his choruses, he continually bobbing up with something he hasn’t done before.” Fletcher Henderson
- 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 sources come from both the original metal parts, test pressings and mint condition 78s that were provided by Michael Brooks, the Institute Of Jazz Studies and Scott Wenzel. The audio restoration was brilliantly done by the great Ted Kendall.
Photo Copyright © Protected
The 36-page booklet contains 30 stunning images (some never before seen) from the collections of the Yale Music Library, the Institute Of Jazz Studies, Frank Driggs and Duncan Schiedt.
February 29, 1936
To hear “the sound of surprise” you need go no further than this recording session held in Chicago on February 29 during the Leap Year 1936. Benny Goodman’s band was in the middle of a tremendously successful engagement at the Congress Hotel, and Goodman had helped Henderson land a plumb gig at the Grand Terrace, replacing Earl Hines, whose band was vacating its home base for a tour. There had been a wonderful opening night party, with the entire Goodman and Hines bands in attendance, along with actress Louise Beavers, English band leader Jack Hylton and Art Tatum. Berry’s little closing riff heard on Yankee Doodle Never Went To Town had morphed into Christopher Columbus and was starting a groundswell of popularity for the Henderson band. Gene Krupa’s eye-catching showmanship and swinging style was making him a star sideman with the Goodman band, and during the winter of 1935-36 he began recording as a leader. The first session was done in November 1935 with a Dixielandish slant and featured Israel Crosby on bass, a 16 year old already gaining attention on an instrument which had very little if any presence in the minds of most music fans. This session was decidedly modern, and Krupa called in not only Crosby but Eldridge and Berry, now in town with Henderson. Both pianist Jess Stacy and guitarist Allan Reuss were in the Goodman band, and the latter’s work in tandem with Crosby is a revelation. Too many times the evolution of the jazz rhythm section is reduced to Basie to Blanton to bebop (if you’ll excuse the term). The high level of blend and spontaneity that the guitar and bass achieve on these sides is a landmark in jazz – they make it sound like one instrument is playing. The mastery of definition, length and choice of notes that Crosby brings to bear was unheard of in 1936. What sounds commonplace now was anything but. You can hear the musicians think all throughout this session, which only happens when the music is truly spontaneous. Small wonder that Berry told Duane Woodruff in the May 1941 issue of Music and Rhythm, “It’s the greatest record date on which I ever played. It was great too to perform with men like Krupa, Benny Goodman and Roy Eldridge.”
I Hope Gabriel Likes My Music is taken at a good clip, and it’s a treat to hear the soloists deal with its odd form, the last eight bars being extended to twelve. There is also a lovely thing effect during each bridge where we hear the soloist create patterns meant to contrast with what they have been doing during the preceding 16 bars, buoyed by the rhythm section. Then there is the headlong assault into the aforementioned extended last A section. Krupa’s restraint is pleasing as is his exciting switch back to the hi-hat cymbals for the last ensemble chorus. Goodman also was on his best behavior. Like Sidney Bechet, he was used to playing the lead and could make life hell for a trumpeter. Here he subjugates himself to Eldridge and the results are electric.
Berry starts Mutiny In The Parlor with a lovely four-bar intro, making way for Eldridge’s melody statement, and then falls into an easy repartee with Goodman, who also excelled at ensemble playing. Most composers would be hard put to come up with something as perfect as these three create during the opening chorus. The magic continues during the fifth measure of the bridge when Goodman and Berry wind up playing the same phrase in the same register, only to be followed a split second later by Eldridge’s echo – this must have brought huge grins and that rare feeling when an artist knows that the stars are perfectly aligned. They also glide right into a modulation for vocalist Helen Ward’s chorus. She was one of the most relaxed singers of the era and is right at home with the heavy jazz feeling of this session. As on the Holiday session, there is a lot going on behind the vocal (Stacy, Eldridge and Berry all playing) but somehow it doesn’t feel cramped. The Eldridge solo that follows is unique in his canon with its Rex Stewart-esque (an early favorite of his) half-valves and eccentric buzz mute sound. Equally thrilling is Berry’s ultra-relaxed bridge. He has come out the other end of the Hawkins influence and become truly his own man. Berry has now arrived as one of the best tenor men in the world and he can trumpet it with a whisper. The last eight bars is nailed perfectly by Krupa’s crashing after-beat cymbals and Goodman’s totally unexpected little fill, answered by a perfectly in tune low Db (a notoriously hard note to play in tune on the bass, especially back then) from Crosby.
Armstrong’s Savoy Blues provided the introduction to I’m Gonna Clap My Hands, after all it was recorded in the same town only nine years earlier. It gets a jammed opening chorus before another sudden modulation to Ward’s key, backed this time only (!) by Stacy and Berry, though bassist Crosby also attracts attention with some wonderful pedal point during the bridge and some accented notes. Eldridge’s solo is delivered in the same vein as the previous tune, but this time there is a call and response with Berry and Goodman that really puts them on their mettle to match his phrases note for note; they make it through with only a few scrapes. It’s during the Goodman solo that follows that the beautiful work of Reuss and Crosby can be heard (again, credit to Krupa for not only staying out of the way, but changing to a cymbal to highlight the strings), replete with little special pops and strums that would be lost if the transfers were not so transparent. Eldridge picks up on Goodman’s last note and they’re off to the races with a closing ensemble that is as perfect as any jammed jazz has ever been.
CUSTOMER REVIEWSClick here to write a review
"This collection is a wonderful coverage of '30's Jazz, indeed essential to ANY Jazz collection."
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Play: Cab Calloway and His Orchestra - At The Clambake Carnival
Play: Chu Berry And His Stompy Stevedores - My Secret Love Affair
Play: Chu Berry And His Stompy Stevedores - Chuberry Jam
Play: Fletcher Henderson And His Orchestra - Knock Knock Who's There
Play: Gene Krupa's Swing Band - Swing Is Here
Lionel Hampton And His Orchestra - Sweethearts On Parade
Play: Billie Holiday And Her Orchestra - That's All I Ask Of You
Play: Teddy Wilson And His Orchestra - Twenty Fours A Day
Play: Wingy Manone And His Orchestra - Limehouse Blues