Search by Genre:
The Mosaic Story:
- Shipping Costs
- Order Online or by Phone
- 9-5 EST Mon-Fri
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 Bing Crosby CBS Radio Recordings (1954-56) (#245)Mosaic Records Limited Edition Box Set
This set is on backorder and is expected to be restocked in the 2nd half of 2013.
"Like buried treasure reclaimed from the past, this remarkable set is like no other Bing Crosby collection ever released. Here is the great crooner and a quartet led by his longtime accompanist Buddy Cole, occasionally augmented by a few wind instruments, in a thesaurus of 160 songs recorded in the most informal of circumstances at 16 sessions, during a period (1954-56) when Bing was in exceptionally good voice." - Gary Giddins, liner notes
Limited Edition: 20,000 copies
7 CDs - $119.00
Bing Crosby changed singing forever. He was fortunate to introduce his artistry to singing as one element of a perfect storm that included significant advancements in microphone and recording technology. Singers could perform more intimately, more conversationally, with greater latitude for the singer to incorporate subtle nuances.
He became the world's first "king of all media" (when "all" meant recordings, radio and movies) and the vast popularity of his records rivals those by Elvis and the Beatles.
Radio Masters - Never Before On Record
Yet, despite reissue after reissue, and numerous greatest hits compilations, one entire treasure trove of his musical output has remained almost completely forgotten, until now. The Bing Crosby CBS Radio Recordings 1954-56 presents, for the first time complete, 160 masters recorded with Buddy Cole for Bing's daily CBS radio show from 1954 to 1956. Aside from 16 tracks that found their way onto LP, the vast majority of the tracks have been locked in Crosby's vault for more than 50 years.
An added bonus is that, relieved of the need to create music that could lead to identifiable hit records, Bing could select any song he chose to sing. After all, it was "just for the radio." The result is that the collection is a virtual catalog of the Great American Songbook, featuring numbers from Broadway, film, Tin Pan Alley, the blues, and well-known jazz standards.
Loose and Hip
For listeners more familiar with Bing the pop artist, these are not lush, orchestrated easy-listening affairs. Stripped down to a jazz quartet, these songs sound loose and hip, more like the Bing that thrilled earlier Jazz Era fans who were blown away not only by his vocal abilities but also by his concept of the vocalist's role in interpreting music.
With big bands out of fashion, Bing's interest in recording in front of a small combo helped these songs achieve a more modern feel, with swinging interplay between singer and band more evident than on many of his commercial recordings. There may be no better way to appreciate how many components of singing he controlled - his breathing, how he created resonance, how he could switch from hitting hard to whispering, his command of slurring and enunciation, and his hip approach to comedy and novelty.
Crosby himself reigned supreme for more than half a century. By the time of these performances, he held enough power that he could demand the opportunity to record his 15-minute radio show, even though the networks and sponsors would have preferred a live broadcast. The joke was that Bing could record twenty shows in a week and spend the rest of the month on the golf course, but by pre-recording the show he and Buddy Cole had the opportunity to perfect the recordings in the studio. Their process was to lay down a number of tracks quickly - sometimes four, six, or as many as 20, keeping them loose, relaxed, jazz-inflected and spontaneous.
For his part, Buddy Cole, who shared Bing's interest in working with new technology, contributed arrangements that are a big part of why this collection will communicate with jazz listeners. His partners on these dates were Vince Terri on guitar, Don Whitacker on bass, and Nick Fatool on drums, and they were adept at every style Bing wanted to conquer. Most of these songs were not otherwise recorded by Crosby. They include "The Lady is a Tramp," "I Got Rhythm," "'S Wonderful," "I've Grown Accustomed to Her Face," "My Baby Just Cares For Me," and too many others to mention.
For Mosaic's release, the recordings have been meticulously restored from the original tape sources. Our deluxe box set includes an exclusive booklet, with a new essay and track-by-track appreciation by Gary Giddins, many photos form Bing's career, and all that swinging music.
Read More About Bing Crosby:
Track Listing, Personnel & Recording Dates »
"For many of us, those records have long stood out as defining moments in an outstanding window of time when Bing seemed on the verge of luminous renewal as a recording artist…This set increases the mid-50s Crosby trove exponentially. More than half a century has passed, but this is an inheritance that was well worth waiting for.” – Gary Giddins, edited from liner notes
- Audio Quality
- Sample Session Notes
Crosby expert Martin McQuade contributes a fascinating essay on the evolutuion of tape recording and Crosby's pivotal role in it as an entrepreneur and visionary. McQuade has curated Crosby exhibits and retrospectives at Hofstra University, the Film Society of Lincoln Center and other prestigious organizations. He co-wrote with Peter Hammar "Bing Crosby's Magnetic Tape Revolution" (University Of Rochester Press).
These performances were taped in a recording studio on fifteen occasions during 1954-56. The versions that were put into the radio show and broadcast were dubbed from the original tapes and often edited. Producer/archivist Robert S. Bader dug deep into the vaults to eventually find the original session reels with the full versions in pristine condition. Bob McKenny was the original recording engineer and blend and sound he achieved on these sessions is superb.
Photo Copyright © Protected
The photographs for this booklet were drawn from Bing Crosby's vast personal archive of photographs and documents.
(F) June 20, 1955 – (O) August 23, 1956
At this point, it’s time to turn this splendid set over to the listener, if only because with the June 20 session, an unmistakable consistency settles in as Bing and the quartet find precisely the right level of inspiration. You get a sense of the heightened interaction as Bing revises the lyric on Nice Work if You Can Get It to comment on Buddy’s two-handed arpeggio, and croons the first 16 bars of How Long Has This Been Going On with just piano accompaniment. You hear it in the give-and-take between them on Deed I Do, and in the solid embellishments with which Bing saves Cocktails for Two, a song born to be parodied, and personalizes Between the Devil and the Deep Blue Sea (Vince Terri breaks out a bit on this, too). The Cole Porter songs merit particular mention, as Bing invariably gets a kick out of the witty lyrics, even if he does change cocaine to perfume in I Get a Kick Out of You; It’s All Right with Me, in particular, is one of the gems of the collection—a sublime, conversational approach backed by a terrifically inventive quartet arrangement, complete with a rubato interlude for the vocalist. True, a few of the newer songs are hopeless; no one could salvage Wake the Town and Tell the People, a 1955 hit for one Mindy Carson, or would choose to revive Blue Star, the theme to the Richard Boone television series Medic, which brought a modicum of success to singer Felicia Sanders. Yet these are few and far between, and as 1956 dawned, Bing basically said to hell with them.
CUSTOMER REVIEWSClick here to write a review
"For starters, the audio quality is nothing short of stunning; the original recordings were brilliantly engineered over 50 years ago, giving Bing's voice an almost palpable presence. But it's his masterful interpretations of Great American Songbook classics that set this collection apart."
Read More Reviews »
Last Chance Offerings
Noteworthy Jazz News