Mosaic Future Projects

[Brad]

I don't see much discussion, if any of the Mulligan Select. The work with Baker and Annie Ross are nice but the sessions with violin I had to mostly fast forward at the violin parts. Violin for me is like flute for most people.

[gslade]

I don't see much discussion, if any of the Mulligan Select. The work with Baker and Annie Ross are nice but the sessions with violin I had to mostly fast forward at the violin parts. Violin for me is like flute for most people.

I pre orderd this set

but have yet to listen to it

maybe next week

[Ron S]

The Diz set has now moved from "Future Projects" to "Scheduled Releases"--June 2006.

[HolyStitt]

The Diz set has now moved from "Future Projects" to "Scheduled Releases"--June 2006.

This set will have "Cool World," right?

Even if it doesn't it sounds like a nice set.

[montg]

The Chu Berry has been pushed back to 2007.

[LAL]

The Chu Berry has been pushed back to 2007.

Better late than shelved I guess.

[Chuck Nessa]

Having everything elswhere, I was waiting for comments on the mastering. Great music however you get it.

[BERIGAN]

Forgive me if I am missing the mention somewheres....but I saw this on Mosaic's site....Is this really old news?

April 2006

MOSAIC SINGLES

At Mosaic, we've been pretty good at conjuring concepts for box sets in order to rescue material that might not otherwise see the light of day. The Columbia Small Group Swing Session (MD8-228) and The Classic Columbia Condon Mob Sessions (MD8-206) are good examples.

But there are great records that are difficult to find that just don't fit into any box set concept. As the major labels do fewer and fewer straight reissues, the chances of a lot of excellent music falling into obscurity increases. So we decided that it was time to add another series to Mosaic Records, one that would be a home for wayward record dates. Our initial six titles, drawn from the Columbia and RCA Victor Vaults, cover the full spectrum of jazz style and each one has greatly improved sound and between two and four bonus tracks. In fact, Duke Ellington's The Cosmic Scene and Art Blakey's Hard Bop are issued in stereo for the first time.

This new series of Mosaic products will feature original artwork and liner notes, new remastering and many of these classic albums will feature bonus tracks. Although it is subject to change, we are expecting to release the titles from this series to retail distribution within nine to twelve months of release. With this lineup, we have every hope that this will prove as interesting and worthwhile a project as Mosaic Select has been over the last few years.

The first six titles are:

(MCD-1001) Duke Ellington's Spacemen: The Cosmic Scene

What makes this small group session unique is that it has a big sound to it. It features three soloists: Clark Terry on fluegelhorn, Paul Gonsalves on tenor sax and Jimmy Hamilton on clarinet. The rhythm section is Ellington, Jimmy Woode and Sam Woodyard. The larger ensemble feel is derived from adding Ellington’s three trombonists in a strictly supportive, arranged role. For this long overdue reissue, we returned to the three-track masters, beautifully recorded at Columbia’s legendary 30th Street Studio by Fred Plaut to construct a stereo master of the album.

(MCD-1002) Bud Freeman: Chicago/Austin High School Jazz in Hi-Fi

The performances contained herein of three sessions led by Bud Freeman on RCA Victor in 1957 are further proof that even the age of some of the participants hadn't diminished any individualistic fire or creative thought process. When initially released, four titles had been omitted due to time restraints and found their way onto Bread, Butter and Jam In Hi-Fi. This is the first time all fifteen tracks have been gathered together on one release.

(MCD-1003) Al Cohn/Bill Perkins/Richie Kamuca: The Brothers

Tenormen like Cohn, Perkins and Kamuca generated their intensity with a low flame and high heat. Their improvisations are meticulously driven by a rhythm section headed by Hank Jones. Material for this project was selected from Nat Pierce, Bill Potts and Bob Brookmeyer as well as the three saxophonists. The choice of these three outside writers was rather inspired since you’ll also get a hell of an arrangement delivered with a great tune. It is pleasure for us to restore this all-but-forgotten album to print and in the process, we found four previously unissued tracks that complete the sessions.

(MCD-1004) J.J. Johnson: J.J.!

In 1964, after leading his own small group and a quintet co-led by Kai Winding for more than a decade, J.J. Johnson marked his move from Columbia to RCA Victor with a dazzling album, brimming with beauty and growth. From the progressive swing of Swing Spring and So What to the lyricism of Stolen Moments to the pure modernity of Bemsha Swing and Stratusphunk, Johnson and company often break the rules of section writing and conventional voicings with marvelous results. While J.J. is the prime soloist through the sessions, Thad Jones, Clark Terry, Jerome Richardson, Oliver Nelson and Hank Jones are also heard from to great advantage.This CD is remixed from the original three-track master tapes with wonderful sonic results.

(MCD-1005) Art Blakey and the Jazz Messengers: Hard Bop

After the dissolution of the original Jazz Messengers, Art Blakey formed a new edition with Jackie McLean, Bill Hardman, Sam Dockery and Spanky De Brest.The material from the December 12-13, 1956 session was more than enough for one album so five tunes were selected for Hard Bop, another three comprised side two of Blakey’s Drum Suite and Gershwin medley sat in the can until 1980. In addition to finally gathering this band’s December 12-13, 1956 output in one place at last, we also discovered that these sessions were recorded in an early (and successful from a sonic point of view) form of stereo and we have asembled the CD from those tapes.

(MCD-1006) Charles Lloyd: Of Course, Of Course

This album was recorded in May 1964 and March 1965, after Charles had left the Chico Hamilton fold, so these sessions were a welcome reunion for Gabor Szabo and him. The recording group was completed by another extraordinarily empathetic team, Ron Carter and Tony Williams. Bringing two of the most creative pairings in jazz together makes for a hell of a quartet. The album is as cohesive as it is varied. For this disc, the album was newly remixed from the original four-track tapes and includes three bonus tracks approved by the artist.

Each title is priced at $15.00

[tranemonk]

yup ... old news////

Forgive me if I am missing the mention somewheres....but I saw this on Mosaic's site....Is this really old news?

April 2006

MOSAIC SINGLES

At Mosaic, we've been pretty good at conjuring concepts for box sets in order to rescue material that might not otherwise see the light of day. The Columbia Small Group Swing Session (MD8-228) and The Classic Columbia Condon Mob Sessions (MD8-206) are good examples.

But there are great records that are difficult to find that just don't fit into any box set concept. As the major labels do fewer and fewer straight reissues, the chances of a lot of excellent music falling into obscurity increases. So we decided that it was time to add another series to Mosaic Records, one that would be a home for wayward record dates. Our initial six titles, drawn from the Columbia and RCA Victor Vaults, cover the full spectrum of jazz style and each one has greatly improved sound and between two and four bonus tracks. In fact, Duke Ellington's The Cosmic Scene and Art Blakey's Hard Bop are issued in stereo for the first time.

This new series of Mosaic products will feature original artwork and liner notes, new remastering and many of these classic albums will feature bonus tracks. Although it is subject to change, we are expecting to release the titles from this series to retail distribution within nine to twelve months of release. With this lineup, we have every hope that this will prove as interesting and worthwhile a project as Mosaic Select has been over the last few years.

The first six titles are:

(MCD-1001) Duke Ellington's Spacemen: The Cosmic Scene

What makes this small group session unique is that it has a big sound to it. It features three soloists: Clark Terry on fluegelhorn, Paul Gonsalves on tenor sax and Jimmy Hamilton on clarinet. The rhythm section is Ellington, Jimmy Woode and Sam Woodyard. The larger ensemble feel is derived from adding Ellington’s three trombonists in a strictly supportive, arranged role. For this long overdue reissue, we returned to the three-track masters, beautifully recorded at Columbia’s legendary 30th Street Studio by Fred Plaut to construct a stereo master of the album.

(MCD-1002) Bud Freeman: Chicago/Austin High School Jazz in Hi-Fi

The performances contained herein of three sessions led by Bud Freeman on RCA Victor in 1957 are further proof that even the age of some of the participants hadn't diminished any individualistic fire or creative thought process. When initially released, four titles had been omitted due to time restraints and found their way onto Bread, Butter and Jam In Hi-Fi. This is the first time all fifteen tracks have been gathered together on one release.

(MCD-1003) Al Cohn/Bill Perkins/Richie Kamuca: The Brothers

Tenormen like Cohn, Perkins and Kamuca generated their intensity with a low flame and high heat. Their improvisations are meticulously driven by a rhythm section headed by Hank Jones. Material for this project was selected from Nat Pierce, Bill Potts and Bob Brookmeyer as well as the three saxophonists. The choice of these three outside writers was rather inspired since you’ll also get a hell of an arrangement delivered with a great tune. It is pleasure for us to restore this all-but-forgotten album to print and in the process, we found four previously unissued tracks that complete the sessions.

(MCD-1004) J.J. Johnson: J.J.!

In 1964, after leading his own small group and a quintet co-led by Kai Winding for more than a decade, J.J. Johnson marked his move from Columbia to RCA Victor with a dazzling album, brimming with beauty and growth. From the progressive swing of Swing Spring and So What to the lyricism of Stolen Moments to the pure modernity of Bemsha Swing and Stratusphunk, Johnson and company often break the rules of section writing and conventional voicings with marvelous results. While J.J. is the prime soloist through the sessions, Thad Jones, Clark Terry, Jerome Richardson, Oliver Nelson and Hank Jones are also heard from to great advantage.This CD is remixed from the original three-track master tapes with wonderful sonic results.

(MCD-1005) Art Blakey and the Jazz Messengers: Hard Bop

After the dissolution of the original Jazz Messengers, Art Blakey formed a new edition with Jackie McLean, Bill Hardman, Sam Dockery and Spanky De Brest.The material from the December 12-13, 1956 session was more than enough for one album so five tunes were selected for Hard Bop, another three comprised side two of Blakey’s Drum Suite and Gershwin medley sat in the can until 1980. In addition to finally gathering this band’s December 12-13, 1956 output in one place at last, we also discovered that these sessions were recorded in an early (and successful from a sonic point of view) form of stereo and we have asembled the CD from those tapes.

(MCD-1006) Charles Lloyd: Of Course, Of Course

This album was recorded in May 1964 and March 1965, after Charles had left the Chico Hamilton fold, so these sessions were a welcome reunion for Gabor Szabo and him. The recording group was completed by another extraordinarily empathetic team, Ron Carter and Tony Williams. Bringing two of the most creative pairings in jazz together makes for a hell of a quartet. The album is as cohesive as it is varied. For this disc, the album was newly remixed from the original four-track tapes and includes three bonus tracks approved by the artist.

Each title is priced at $15.00

[J.A.W.]

Forgive me if I am missing the mention somewheres....but I saw this on Mosaic's site....Is this really old news? (...)

Yep, old news indeed - see this thread.