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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 Thelonious Monk At The It Club (MRLP-3001)Mosaic Singles
"It was during the It Club gig documented here that these four individuals showed the first signs of collective greatness." - Bob Blumenthal, liner notes
Limited Edition: 5000 copies
4 LPs (180 gram) - $100.00
The Thelonious Monk Quartet with Charlie Rouse lasted eleven years. October 31 and November 1, 1964 at the It Club in Los Angeles were just two more nights out of thousands for them, except when it comes to Monk, there were no ordinary nights.
Rouse in his sixth year with Monk had hit his stride, truly becoming Monk's musical alter ego. Remarkably, drummer Ben Riley had joined the quartet at the beginning of 1964 and bassist Larry Gales had only logged in a month at the time of this taping; yet they already show the first signs of collective greatness on these evenings.
The band plays standards, many of Monk's famous tunes, a few lesser known items like "Gallop's Gallop" and "Blues Five Spot" and the recent compositions "Teo" and "Bright Mississippi." Propelled by Gales and Riley, Monk and Rouse deliver amazing ten-minute excursions on such Monk classics as "Nutty," "Rhythm-a-ning," and "Blue Monk."
Monk was at a particular high point pianistically during this gig; in fact, he went into a Los Angeles studio and recorded the album Solo Monk on the afternoons preceding and following the live taping. He is in full force throughout, but his playing is particularly superb on the standards "I'm Getting Sentimental Over You" and the previously unreleased "Sweet And Lovely.".
Mosaic has returned to the original three-track tapes and mixed them down to beautiful sounding analog stereo masters, presenting the six sets they played that night as they happened.
More than 91 years after his birth, and over a quarter century since his passing, evidence that the once supremely iconoclastic Thelonious Monk may have been as central as anyone to the immortal music of both his country and his time continues to mount. In 1998, when the present music was initially released on compact disc, the memory of Monk's visage on a (then 32-cent) first class postage stamp from two years earlier still lingered; a decade later, the posthumous award of a Pulitzer Prize in music was far less shocking. Monk's time - as composer, bandleader and (perhaps most surprising of all) pianist - has indeed come, and shows no sign of passing.
With performance opportunities increasing, and the wider dissemination of his music that followed his signing with Columbia Records in 1962, Monk found himself able to mold an ensemble that could deliver the lean, infectious, inquisitive readings his compositions invited. Over the course of 1964, he seized that opportunity by assembling what would become his most venerable unit, the quartet that would take his message across America and around the world several times in the latter part of the decade. Charlie Rouse, at the midpoint in his 11 years of service with Monk, was hitting his stride, while Ben Riley and Larry Gales were more recent additions to Monk's universe. It was during the It Club gig documented here that these four individuals showed the first signs of collective greatness. - Bob Blumenthal, liner notes
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