Jim Duckworth

Next up: King Oliver didn't teach Louis anything.

This set is a great place to hear Miles actively and successfully shaping what the Quintet did.

These live 1978 and 1979 sessions from San Francisco's Keystone Korner feature tenor sax player Dexter Gordon with a fine rhythm section of George Cables on piano, Rufus Reid on bass and Eddie Gladden on drums.

PM sent on Frank Kimbrough.

PM sent on the Bill Evans.

On a related note: one of the Black motifs is Riding on a Blue Note from 1938. Interestingly, Come Sunday came up in my listening twice this week: studio and broadcast Gerald Wilson (with Hobart Dotson) and Booker Ervin.

Thank you for posting. I really like this band-besides the usual suspects, I really like Allan Reuss.

I find the Baggy's Rehearsal Sessions to be excellent-but that's my favorite Hendrix line up. I like the other Dagger releases as well, but they offer more jamming and are somewhat less focused on song.

Some of my all-time hands-down favorite Mosaic boxes are the ones that collate the work of a record label (H.R.S., Beehive, Strata East). It seems that, if license-able, the DIW catalogue could be mined for some interesting boxes. Such as: DIW Records: The Classic Piano Recordings (Harold Mabern, John Hicks, James Williams, Mulgrew Miller, Ronnie Matthews, Walter Bishop, George Cables and more).

Oh Yes. This is where I came in-a great place to hear Carter Jefferson.

I've been listening somewhat closely to Gerald Wilson as an arranger and as a band leader-which led me to re-examine the first two discs of this set. And then, because I wanted more Carmell Jones and Harlod Land with Mr. Wilson, I landed on disc 2 of The Carmell Jones select.

Exactly. I was carted through an estate sale in my neighborhood and managed to get interested in some pretty old vinyl wherein Way Out Wardell stood out. Made me sorry not to have met him. A longstanding Wardell Gray fan up the street and I never suspected!

This is a bitter sweet announcement. On the one hand, I have all of this material on individual discs;on the other hand, I am glad for any new Mosaic Box and will pre-order this one without fail. It was the classic '60 and '61 records coupled with the earlier Mosaic Mobley set that got me interested in these later sessions to begin with. The value of this set for me is contextualization and, as it was so well put above, "the respectful presentation" of the material. Strangely, I was in a similar position with the Ellington 1932-1940 Brunswick, Columbia, and Master Recordings-that is to say, I had all of it spread over various discs. Nevertheless, the Ellington set became one of my all time favorites despite my lack of initial enthusiasm.