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Perhaps time to end the wake and move on

Sometimes there are mistakes, emails are not always answered at once (or at all), which can be frustrating but on the whole I am very satisfied with the Mosaic after sales service.

I got my CD from CDBaby a few months ago. Really very good; organ jazz with a difference.

As far as I can hear, using ear phones; the US version of the box has Disc 1 in mono as well.

Lat week I bought the Roy Eldridge set off the counter here in Sweden, and then thought it would put me off ordering from Mosaic for awhile. But then there is the weak dollar... and to give a rough translation of a swedish saying; "a lot wants more" I'm now considering the Hodges set possibly together with the Herman set (not to happy with all the vocals that reportedly take up a large part of the set) and/or Selects.

Thanks. Probably my background, part South African and part Sweden, has helped me to see a connection of this kind. The reaction of the critics is, of course, more complex than to be a matter merely of racism, overt or latent. John Hammond would, I imagine, have understood and appreciated the political message, but I understand it, he was one who in the 1930s offered advice to Duke Ellington; when it wasn't taken; Hammond never really forgave him. At least I think I read this some time ago; I hope the memory is accurate.

Thanks for chosing a work by Ellington; I hope my comment altough not about the music itself can stimulate further discussion. Perhaps one way of understanding BBB is to consider it as a political work by an African American living in a time, the 1940s, when African Americans were begining to demand their civil rights. In the sense, laying the groundwork for the advances of later years. In this context the reception of BBB when first performed in the 1940s becomes interesting; the criticism wasn't favourable and seems to have prevented BBB from being performed later in toto. Of course the reason could be that BBB was contrary to the accepted the musical tastes of the 1940s. However, we could also consider the subject matter of BBB and Jump for Joy, the 1940s musical, of which only scraps survive. ie the status of African-Americans in the US. In the 1940s segragation was still prevalent, not just in the southern states but also in, for example, the armed forces. In other words, did BBB and, for that matter, Jump for Joy, not have the right subject matter for a White audience more concerned with the fight for freedom outside of the US, but possibly less concerned, hostile even, to dealing with related issues at home? By 1959 when the new version of BBB was recorded, the Civil Rights movement was making an impact on the United States as a whole. Possibly the work had become more politically acceptable; on the other hand; BBB as performed in 1959 has more religious connotations, with Mahalia Jackson aboard the political impact is considerbly less.

In Sweden the set could be available early February (according to information on the CDON website). I wouldn't bet any money on the exact date, I think it was 2nd, but sometime February appears realistic.

I remember her from one of the only two times I heard Ellington live (1972 or 73). Not a very subtle singer, but then I am not sure if that being subtle was a quality that much in demand. So she did fit in, in a way. But then, even when taking into account Ivie Anderson and a few other exceptions, while Ellington had the ability to make competent instrumentalists shine (eg Russell Procope), as well as making brilliant musicians truly outstanding, it seems that he didn't have the same magic touch with his vocalists.

I add my recommendation to buy the Gerald Wilson set; parts of the Kenton Presents set are very good, but the Cooper section is a bit weak. The Elllington Reprise I would recomend as a second purchase after Gerald Wilson. I have the German edition (with with original Mosaic liner notes translated into German), but later I have discovered that there is a English version (Rhino); available in Sweden and also in the UK. Very worthwhile to hear Ellington in (for him) unusual contexts.

No Mosaic boxes either for me this Xmas; apparently like other wives, my wife is of the opinion that I have too many as it is. It is not that she dislikes jazz, but she prefers it to be live. But a few weeks ago we went on brief holiday to London (Hearing the Echoes of Ellington band at Club 100 was great fun). Anyway, as I was surfing on the net seeing what else was on, we came to the Barbican site, with the information that Sonny Rollins was coming there at the end of April. While I looked at the screen with a certain amount of disbelief, she suggested that going to the concert could be her birthday present to me. After all, she said, as almost everyone you listen to is dead, for a change it would be nice to listen to someone who is still alive. Not a Mosaic box, but all things considered, not half bad.

Disconforme also have issued Sound of Jazz on DVD together with Ahmad Jamal and Ben Webster. It seems to be a recent reissue. My memory of the excerpts I have seen on Swedish TV is that the quality was somewhat grainy, but that the music, of course, made up for it. Given the quaiity of the original source, I wouldn't expect too much from any reissue. However, some could easily be quite bad. As the Disconforme reissue sits waiting on a shelf in my favorite CD-shop; does anyone know how it compares in quality to the other reissues of Sound of Jazz?

Put it this way, my sound system is just about average; a high end system might reveal defects that I can't hear, even if I was listening for them, which I usually don't. To my ears the sound quality is acceptable. For what is is worth the box carries the following: "Warning: The music on these compacts discs war originally recorded on analogue equipment, prior to modern noise reduction techniques. These compact discs preserve as closely as possible the sound of the original Nocturne recordings. The 24 bit digital remastering from the original sources reveal some limitations including noise and other distortions." Well, there you have it, a relatively recent remastering (1998) of source material almost half a century old. My advice; get it for the music, Jimmy Rowles in particular.

Amazing! Is there really someone outside of Sweden collecting these promotionals? At first they just looked horribly familiar, then the swedish flag, and the swedish sounding names gave the game away. Not the greatest hour of swedish music I'm afraid.

Recommended. The chance of hearing Duke Ellington perform on material not usually associated with him should not be missed.

Five CDs on the Time theme; artistic commitment or commercial crassness? To tell the truth, I like the Time Out album, haven't heard the others, but can't keep wondering where the diminishing returns set in. BTW, there is also a four CD retrospective which appears good.

That's the way it happened. It would be easier if the VAT was applied correctly at source. Also the administrative fee charged by customs would be avoided.

Possibly there is a ethical dilemma about buying cheaper in Europe; it could also be argued that by buying from Verve rather then Mosaic, we are supporting joint projects which otherwise would not be realised. Wouldn't it also be unethical to take advantage of Mosaic's summer offer (10% off Mosaic sets or $5 off True Blue CDs)? Customs and VAT, at least in Sweden, seems to be applied more stingently now than a few years ago. This summer I even had to pay VAT for CDs purchased from the UK (Miles at the Blackhawk). If there is a pattern it would be the obvious one that large parcels attract attention more often. One way of buying, which appears to work with at least some smaller businesses in the US is to ask for the CDs to be shipped without their jewel cases; not only does the postage become less, the package may also attact less attention going through customs.

And then there is always the possibility that customs here in Europe add VAT + a surcharge.

I would recommend it as well; the notes by Laurie Pepper are very good, provide the background to the sessions; but it is also interesting to hear Art Pepper playing as part of a somewhat larger ensamble. Compared to the Village Vanguard sessions, less intense. But still not at all bad.

BTW The Gerry Mulligan CJB which will be available in Europe (Sweden) later next month, does anyone know if that also will in a "non-Mosaic format"? And what about the Eldrigde set?

Thanks for the information. Still the music is the same, but does take less space

No comments, except, thanks for the tip! The sound samples were intriguing, much better than I would have thought considering some of the material. Even with VAT and postage for Sweden it isn't that expensive. Ordered my copy of the set last evening. Now I look forward to hearing some great music.

Well, yes, perhaps I overstated a bit.The Pablos are definetly not all mediocre. Sarah Vaughan "How Long Has This Been Going On" is another very good recording. The duo recording Gilliespie did with Peterson can be mentioned as well. But all the same; I would still stand with my overall judgement, that few of the artists recording for Pablo did their best work on that label.

I am somewhat ambivalent regarding the Pablos; I suppose it is good that they were recorded even if somewhat late in the day. But there are few if any masterpieces. At the risk of generalising too much, the best Pablos are not from the time the label was recording officially, but rather issues culled from Norman Granz's cupboard; the Carnegie Hall concert with Parker & Navarro, etc. I can't say that I now feel the urge to own many Pablos, better to check out what the same artists were doing for Granz in the 1950s. Benny Green, the British jazz critic, wrote a quite a few of the liner notes to Pablo LPs of the 1970s, now part of a book called "Such Sweet Thunder". During my LP years I had quite a few Pablos, and it is an interesting experience rereading these notes. In many cases, the Benny Green's writing proves to be better/more interesting than I remember the music to have been. Finally, Coleman Hawkins "Sirius", belongs to the category of artist in terminal decline; and is to me one of the few sessions I wish never had been released. Very painful listening.