John L

Lon - I didn't understand that as the logic. There are actually a lot of tracks on this set recorded at V-Disc sessions that were never issued on V-Disc. I am certainly not disputing their claim that "Silvery Moon" came from a radio broadcast.

I have always really loved the Fats Waller V-Disc Session. But I was a bit disappointed that Mosaic left off 3 tracks from this session: The Ladies Who Sing With the Band, To A Wild Rose / Don't Get Along Anymore, and St. Louis Blues. The Mosaic discography correctly lists them as "unissued" by V-Disc. But they have appeared on other releases, including the JSP complete Fats Waller series. Mosaic also omitted another track commonly thought to be from this session, By the Light of the Silvery Moon, claiming that the track actually comes from a radio broadcast.

RIP. She was a legend in the East Bay where I grew up.

I actually stand corrected. The Woody Herman small group session IS on this box. Sorry for the error in my previous post.

OK, thanks.

My set arrived. I am really looking forward to digging in. Having read the booklet, I am still a bit puzzled about how they chose what to include in this set. This box is almost all traditional (mostly Chicago-style) jazz and vocals. That struck me as very strange at first, given that a lot of well-known V-discs were made by swing bands and small groups from swing bands. The "Producer's Note" indicates that only genuine V-Disc recording sessions were included, as opposed to V-Discs taken from sessions made for other labels or live broadcasts. That would seem to explain why none of the many Duke Ellington V-Discs were included. But the Count Basie Band certainly had genuine V-Disc sessions, including a special one with Lester Young in 1944. Perhaps they should have included in the note that all big band V-Disc sessions were also excluded? But that wouldn't seem to explain why Woody Herman's small group V-Disc sessions are not in the box. Was the Bob Crosby small group session included because it fit the traditional jazz bill as opposed to the more modern swing of Woody Herman? A bit more information would have been useful.

I have been really enjoying the expanded Town Hall Concert since it was posted on YouTube. I also recently saw a quote by A.B. Spellman to the effect that "Blues Misused" from this concert is one of Ornette Coleman's greatest performances. Fate would have it that this track was not included on the planned Blue Note album that we now have on YouTube. Ornette did record it later as a track for Who's Crazy. But I would be interested to hear the Town Hall version that includes piano, guitar, and electric bass.

OK. I don't think there was ever a question about there maybe being more than one 1940s session released by Roost. There is a very different second session released by Roost (this one actually recorded by Roost) from September, 1953 with George Duvivier and Art Taylor. The 1940s session, which you argue is from 1947 and Pullman argues is from 1949, was apparently obtained by Roost from another source.

Thanks, Allen. From the same session as what?

Thanks, Allen. That is interesting. So you believe that the first Roost session was from 1947 because Bud was playing in a clearly different manner than on his Blue Note and Clef sessions from 1949?

I saw them last night in DC - quite intense! I am sure you will enjoy it.

Yes, I have always loved how Mal sounded on that out-of-tune piano. It almost feels like he deliberately worked his solos around the distorted pitches.

This is evidently a mistake made by Mercury records at the time. Bird recorded three tunes at the session. So it makes sense that there were three different names for the tunes: Segment, Diverse, and Passport. They then made the mistake of issuing Segment and Diverse as two takes of the same tune. Alternatively, two different tunes were issued under the title of "Passport." The tune issued as Passport in 1952 was a different tune than the alternate take of Passport that appeared on a number of reissues after that time. Verve issued the three different tracks together for the first time when they released the complete Charlie Parker on Verve box. Discographies now usually refer to these tunes as tune X, tune Y, and tune Z. The 2-CD set The Unheard Bird issued the complete session for the first time that has multiple takes and breakdowns for all three tunes.

Yes, I finally did get a confirmation email about 7 hours after I made the order.

Well, I pre-ordered and I have to say that this will probably be the last set that I buy from Mosaic. It has just become too unpleasant an experience to deal with them. As usual, I received no confirmation of my order, just a note saying that my order is under review. Then I noticed that my account had been charged immediately for the money. That surprised me a bit, as Mosaic usually does not charge until shipment. I am OK with being charged now. But I would like a receipt. I would like a confirmation number. I would like an invoice. Don't just take my money and give me nothing.

This is the kind of set that I just can't resist buying even if I don't know how often I will listen to it.

RIP. One of the giants.

This year marks his 100th birthday. I love his music.

What? No "Golden Lady?" No "Love's in Need of Love Today?"

Yes. The upgrade in sound will be the primary contribution of this release. As you write, it should be particularly substantial for October 1, 1964. The other two tracks from July 28 may not have had a CD release but they have been circulating for some time.

RIP. I always really appreciated him, and will continue to do so.

I had accumulated a couple thousand LPs by the dawn of the CD age. I resisted CDs for about 5 years. Then I took the plunge and never looked back. Now I don't even have a turntable.

I guess that Roy Haynes is probably the only one left who played with Parker regularly as a member of his group.

Nice!

Well, this would appear to be the last two tracks, which indeed have never been issued before (from the Losin discography). As Mhatta wrote above, they were apparently discovered in 2012. I look forward to this release. February 6, 1941 (2 items; TT = 8:22) Unknown venue, Kansas City MO Private recording (Acetate) (B-) Charlie Parker (as); Bernard "Buddy" Anderson (tpt); Orville "Piggy" Minor (tpt); Harold Bruce (tpt); Joe Taswell Baird (tb); John Jackson (as); Harold Ferguson (ts); Bob Mabane (ts); Jay McShann (p); Gene Ramey (b); Gus Johnson (d); Joe Coleman (voc) 1 I'm Getting Sentimental Over You (inc) (G. Bassman-N. Washington) 4:23 Opening theme, vocal chorus, Parker solo (1:52-3:27), vocal (fade out) 2 Margie (C. Conrad-J.R. Robinson-B. Davis) 3:59 Ensemble introduction, vocal chorus, band chorus + Minor tpt solo, McShann p solo, eight-bar ts solo (3:32-3:43); closing theme These promotional recordings were rediscovered in 2012, and the masters are in the John B. Tumino Collection at the University of Missouri-Kansas City. Although "I'm Getting Sentimental Over You" is incomplete, it includes a beautiful 32 + 4-measure solo by Parker at a relaxed tempo. The relaxed eight-measure solo following McShann's half-chorus on "Margie" is not by Parker. Chuck Haddix claims the solo is by Parker -- Bird: The Life and Music of Charlie Parker (Urbana: University of Illinois Press, 2013), p. 48 -- but it is a tenor saxophone, probably played by Bob Mabane.