Idea for a new Mosaic

[Peter]

there is certainly a solid hard core of fans who would buy a set like that without any questions asked.

You can count me as one!

[jonathanhorwich]

Dear Members,

Thank you so much for your interest in the Marsh material we have.

I am co-owner of Revelation Records. I have been going through all Revelation material for possible future releases. Marsh of course is at the top of the list. I have been in communication with Mosaic and other companies and I hope to release the Marsh material in the not too distant future.

I am currently moving all of the Revelation material onto 24/96 digital format to preserve it for posterity.

If you have any other questions please fire away as your interest is very very appreciated.

Jonathan Horwich

[jlhoots]

We'll all keep our fingers crossed.

[gmonahan]

Dear Members,

Thank you so much for your interest in the Marsh material we have.

I am co-owner of Revelation Records. I have been going through all Revelation material for possible future releases. Marsh of course is at the top of the list. I have been in communication with Mosaic and other companies and I hope to release the Marsh material in the not too distant future.

I am currently moving all of the Revelation material onto 24/96 digital format to preserve it for posterity.

If you have any other questions please fire away as your interest is very very appreciated.

Jonathan Horwich

That's very good news! I'm embarrassed to admit, however, that I don't know much about the Revelation label. Could you share with us some information about what other artists recorded with the label whose work might be of interest to the Board? Many thanks!

greg mo

[Niko]

a label discography can be found here...

http://web.archive.org/web/19991005054004/...m/jazzprojekte/

"carmell jones returns" looks good to me, or the dennis budimir with alber stinson..., or the john carter/bobby bradford quintet...

[John L]

Dear Members,

Thank you so much for your interest in the Marsh material we have.

I am co-owner of Revelation Records. I have been going through all Revelation material for possible future releases. Marsh of course is at the top of the list. I have been in communication with Mosaic and other companies and I hope to release the Marsh material in the not too distant future.

I am currently moving all of the Revelation material onto 24/96 digital format to preserve it for posterity.

If you have any other questions please fire away as your interest is very very appreciated.

Jonathan Horwich

Jonathan,

Thank you very much for this information. Knowing that this music is being carefully preserved gives us and future generations something to look forward to.

John

[gmonahan]

a label discography can be found here...

http://web.archive.org/web/19991005054004/...m/jazzprojekte/

"carmell jones returns" looks good to me, or the dennis budimir with alber stinson..., or the john carter/bobby bradford quintet...

Thanks Niko,

I didn't know about this one:

"20-- Frank Strazzeri: Taurus

Conte Candoli (tp), Frank Rosolini (tb), Don Menza (fl,ts), Frank Strazeri (elp), Gene Cherico (b), Dick Burke (dr) (rec. 6.1.1973) (also issued on Creative World CW 3003 as "View from within" )

Taurus / Lazy Moments / Strazzatonic / Calcutta / Sphinx / View From Within"

Don't think I've ever seen that one on cd. As something of a Rosolino fan, I'd like to hear that!

greg mo

[jonathanhorwich]

Dear All,

I will try and brief you about Revelation through the questions being asked or comments being made.

1. To see the most complete listing of Revelation's discography and hence what other artists we have published, see http://web.archive.org/web/19991005054004/...m/jazzprojekte/

I will be updating this list in the near future making sure it is fully accurate and will repost it once done. I have already started on the list and should have it completely done in a week.

2. Someone might have mentioned that Warne Marsh was not in the same league as Mulligan. I may have misread this. However, make no mistake, Warne Marsh was a genius of uncanny ability. Mulligan was a great great musician. I love his playing and his groups are astounding (Try Konitz meets Mulligan for some of the most brilliant improvisation on record in this case by Lee Konitz--the famous Lover Man solo). But Warne is in his own league with a few others in jazz. Unfortunately his tone and lack of dynamic contrasts coupled with his super intellectual mining of jazz harmonies make him inaccessible to all but those with the patience and ear to listen carefully. He was simply astounding. I felt this way before he approached our label with the now famous Half Note tapes and I've felt this way since.

I only mention this because I thought I saw a post of someone mentioning him as not quite in the league with some others. Be assured, pure improvisation doesn't get any better than that. I realize we are into the realm of opinion here but now you have mine (and Lee Konitz feels the same way if that helps my cause here).

3. As mentioned in my first post all Revelation material is being preserved as we speak to 24/96 digital. I have just put together all of the Carter/Bradford material. I am now under discussion with interested labels and I hope to have a box set out in 2010. One label has told me they want to put it out in 2010. Next is the Warne Marsh material.

Please continue to ask any questions or make any comments.

Thanks again.

Jonathan

[jonathanhorwich]

Be warned there are some legal issues here. Might be difficult to untangle.

Chuck, Thank you. There are no legal issues with the Warne Marsh material we own. Only one tape is in question. That is the Half Note sessions. Warne brought them to us way back in the 60s. The tapes had Lee Konitz cut out of the performances even though Lee played his rear end off. Only Marsh solo'd on the tapes we had. Later we heard that probably Lennis Tristrano had done this to spite Lee with whom he was in conflict. Why? Lee was straying from the fold and playing differently. Warne was pure unadulterated Tristano school. Hence, Lee was cut out. When the Revelation albums came out with these tapes, Lee hit the roof. He was very upset with the fact that my partner Bill Hardy, had put Lee's name on the cover of the album as if Lee was really on the record. Lee was not so Lee's upset was fully justified.

Later, Verve put out the entire performance with Lee and Warne and all was restored.

But today who knows how Lee and Verve would feel if we put out those two albums on a CD with just the Marsh solos. That will have to be confronted and handled before we would release those Marsh performances.

Other than that sticky issue, there are no legal problems with our masters.

Jonathan Horwich

Edited June 15, 2009 by JLH

[Niko]

2. Someone might have mentioned that Warne Marsh was not in the same league as Mulligan. I may have misread this. However, make no mistake, Warne Marsh was a genius of uncanny ability. Mulligan was a great great musician. I love his playing and his groups are astounding (Try Konitz meets Mulligan for some of the most brilliant improvisation on record in this case by Lee Konitz--the famous Lover Man solo). But Warne is in his own league with a few others in jazz. Unfortunately his tone and lack of dynamic contrasts coupled with his super intellectual mining of jazz harmonies make him inaccessible to all but those with the patience and ear to listen carefully. He was simply astounding. I felt this way before he approached our label with the now famous Half Note tapes and I've felt this way since.

I only mention this because I thought I saw a post of someone mentioning him as not quite in the league with some others. Be assured, pure improvisation doesn't get any better than that. I realize we are into the realm of opinion here but now you have mine (and Lee Konitz feels the same way if that helps my cause here).

think the person was talking about sales potential (but please don't take that to seriously )

[jonathanhorwich]

2. Someone might have mentioned that Warne Marsh was not in the same league as Mulligan. I may have misread this. However, make no mistake, Warne Marsh was a genius of uncanny ability. Mulligan was a great great musician. I love his playing and his groups are astounding (Try Konitz meets Mulligan for some of the most brilliant improvisation on record in this case by Lee Konitz--the famous Lover Man solo). But Warne is in his own league with a few others in jazz. Unfortunately his tone and lack of dynamic contrasts coupled with his super intellectual mining of jazz harmonies make him inaccessible to all but those with the patience and ear to listen carefully. He was simply astounding. I felt this way before he approached our label with the now famous Half Note tapes and I've felt this way since.

I only mention this because I thought I saw a post of someone mentioning him as not quite in the league with some others. Be assured, pure improvisation doesn't get any better than that. I realize we are into the realm of opinion here but now you have mine (and Lee Konitz feels the same way if that helps my cause here).

think the person was talking about sales potential (but please don't take that to seriously )

Thank you for pointing this out. Yes, this is a very valid issue. I have spoken with Michael at length and issues such as this are important. I personally believe that Warne could sell enough to make it viable. But surely not as much as Mulligan. But after the Carter Bradford material is finished and ready for publication, I will then work with a company to issue all the Marsh tapes that are good.

Hope this clears things up and sorry about my misunderstanding of the Mulligan comment.

Jonathan

[mikeweil]

Being an longtime Clare Fischer fan, I would be delighted to have a box set with all of his Revelation sessions - I have only two or three on LP, and they are all great! How about this for a third set?

[JSngry]

...the Half Note sessions. Warne brought them to us way back in the 60s. The tapes had Lee Konitz cut out of the performances even though Lee played his rear end off. Only Marsh solo'd on the tapes we had. Later we heard that probably Lennis Tristrano had done this to spite Lee with whom he was in conflict. Why? Lee was straying from the fold and playing differently. Warne was pure unadulterated Tristano school. Hence, Lee was cut out. When the Revelation albums came out with these tapes, Lee hit the roof. He was very upset with the fact that my partner Bill Hardy, had put Lee's name on the cover of the album as if Lee was really on the record. Lee was not so Lee's upset was fully justified.

Later, Verve put out the entire performance with Lee and Warne and all was restored.

But today who knows how Lee and Verve would feel if we put out those two albums on a CD with just the Marsh solos. That will have to be confronted and handled before we would release those Marsh performances.

Verve only put out full performances of a fraction of the tunes that Revelation released. If somehow the full performances of all the material could be found & released, then we would have world peace. Forever. So get it done for the world.

But if not, the two The Art Of Improvisingalbums are two of the most important documents of jazz tenor playing in the history of this or any other world, past, present, or future. They have circulated perhaps more than you know, but only among the very, very hardcore. Perhaps that is how it should be, perhaps not. But that is how it is.

Warne was one of the baddest of the bad. Attention must be paid or else what little truth is left in the world is in jeopardy.

[Cliff Englewood]

But Warne is in his own league with a few others in jazz. Unfortunately his tone and lack of dynamic contrasts coupled with his super intellectual mining of jazz harmonies make him inaccessible to all but those with the patience and ear to listen carefully. He was simply astounding.

Jonathan, that is one of the best descriptions of Marsh's music I have ever read, talk about hitting the nail on the head!!!

I have to admit I would still be slightly pessimistic about something like this coming out, not due to lack of quality or lack of effort, but purely down to economics and such in these horrible times, but I would love to be proved wrong. :D

Good luck and please post any updates.

[JSngry]

I gotta disagree with the "lack of dynamic contrasts" thing, though. This guy's mature playing is nothing but differing contours, melodiacally, harmonically, rhtymoically, and, yes, dynamically. Hell, in one phrase alone, the dynamics can go from here to here and back in the course of three notes.

What you very rarely (if ever, get is things going up to here. So there is plenty of contrast, just not on a typical "jazz scale".

Warne was not one for the obvious...thank god!