Late

Yep, those recordings are supposed to make up the "first" 4-disc Mosaic Select. The original stereo reels were discovered within the last year or so, but I haven't heard anything about that particular Select in some time. Michael Cuscuna e-mailed me about a year-and-a-half ago with very positive comments about how good the recent Japanese SBJC editions of California Concerts sounded, and that he'd likely use these remasters (done by Ron McMaster, I think) for American reissue. I haven't heard them, but would like to. It seems like they (these Pacific Jazz live recordings) would fit well with the EmArcy studio recordings to form a 4-disc Mosaic box set. I have all but the first studio session that Mulligan's sextet recorded for EmArcy, and the sounds are indeed fine. Maybe, as in the case with the Andrew Hill Mosaic Select, a steady (and polite) stream of e-mails would push this one through.

I did some searching around here, but didn't find any particular discussion on this set. I'm somewhat embarassed to admit that I spun this one this morning ... for the first time in about five years. Man, what a great set, and one I need to get back into. Others' thoughts? This is probably my favorite Diz on record.

Here's what I think is an accurate Mulligan Discography on EmArcy: A Discography of The Gerry Mulligan Sextet On EmArcy compiled by Kiyoshi Koyama Jon Eardley (tp), Bob Brookmeyer (v-tb, p), Zoot Sims (ts) Gerry Mulligan (bs, p), Peck Morrison (b), Dave Bailey (ds) New York City, September 21, 1955 12044-1 Bernie's Tune MG 36056 12045-7 Mud Bag MG 36056 12046-1 Blues 195J-35 12047-1 The Lady is a Tramp 195J-35 12048-3 Duke Ellington Medley MG 20453 12049-1 Demanton 195J-35 New York City, September 22, 1955 12050-1 Apple Core MG 36056 12051-4 Broadway 195J-35 12052-5 Sweet & Lovely (take one) MG 36056 12053-1 Sweet & Lovely (short version) 195J-35 12054-5 Bernie's Tune (short version) 195J-35 12060-5 Westwood Walk MG 20453 12061-3 Blues MG 20453 12061-2 Blues (alt. take) 19J-35 New York City, October 31, 1955 12296-4 Broadway MG 36056 12296-5 Broadway (alt. take) 195J-36 12297-1 Demanton (alt. take) 195J-36 12297-12 Demanton MG 20453 12298-6 Nights of the Turn Table MG 36056 12299-1 Everything Happens to Me (alt. take) 195J-36 12299-2 Everything Happens to Me (alt. take) 195J36 12299-4 Everything Happens to Me MG 36056 12300-2 The Lady is a Tramp MG 36056 12300-4 The Lady is a Tramp (alt. take) 195J-36 New York City, January 25, 1956 same, except Bill Crow (b) replaces Morrison 12428-5 Westwood Walk 195J-36 12429-17 Ain't it the Truth MG 36101 12430-2 Mainstream MG 36101 12431-8 La Plus Que Lente 195J-36 New York City, September 26, 1956 same, except Don Ferrara (tp) replaces Eardley 14179-2 La Plus Que Lente MG 20453 14180-8 Igloo MG 36101 14181-2 Makin' Whoopee MG 20453 14182-3 Elevation MG 36101 14183-3 Lollypop MG 36101 14381-1 Root Blues MG 36101 Catalog No., Album Title: MG36056 - Presenting The Gerry Mulligan Sextet MG36101 - Mainstream of Jazz: Gerry Mulligan Sextet MG20453 - A Profile of Gerry Mulligan MG36088 - Under One Roof (Various Artists)

Well, maybe it's not Wade. I don't know what Oliver Beener looks like ...

I think that's actually Wade Legge. At least it looks like him to me. From left-to-right, it would be: Bill Crow, Wade Legge, Zoot Sims, Bob Brookmeyer, Dave Bailey, Gerry Mulligan Of course, I've never heard that configuration for Mulligan's sextet. I just posted the photo for fun. Jon Eardley (and/or Don Ferrara) aren't pictured.

Now that we have The Concert Jazz Band Verve Recordings on Mosaic, how does a Complete Sextet box sound? What exactly would/could be included from the EmArcy and Pacific Jazz recordings? And what other sessions might fit into such a box?

What actually keeps me from visiting their site too regularly is their reviews, which never fail to fold my stomach. But I've been their (pardon the expression) bitch since 1999 — have only ordered from them, oh, about 50+ times ...

The Art Farmer Septet Plays the Arrangements and Compositions of Gigi Gryce and Quincy Jones 1. Mau Mau (Jones-Farmer) 5:15 2. Work of Art (Jones-Farmer) 5:46 3. The Little Bandmaster (Jones-Farmer) 4:06 4. Up In Quincy's Room (Gigi Gryce) 4:00 5. Wildwood (Gryce) 2:55 6. Evening in Paris (Quincy Jones) 2:41 7. Elephant Walk (Jones) 3:25 8. Tiajuana (Gryce) 2:49 9. When Your Lover Has Gone (E.A. Swan) 5:10 on (1-4): Art Farmer: trumpet Jimmy Cleveland: trombone Cliff Solomon: tenor saxophone Oscar Estell: baritone saxophone Quincy Jones: piano, percussion Monk Montgomery: electric bass Sonny Johnson: drums recorded July 2, 1953; New York City engineer: Doug Hawkins on (5-8): Art Farmer: trumpet Jimmy Cleveland: trombone Charlie Rouse: tenor saxophone Danny Bank: baritone saxophone Horace Silver: piano Percy Heath: bass Art Taylor: drums recorded June 7, 1954; Hackensack, NJ engineer: Rudy Van Gelder on (9): Art Farmer: trumpet Barry Harris: piano Doug Watkins: bass Art Taylor: drums recorded August 3, 1956; Hackensack, NJ engineer: Rudy Van Gelder In light of the Fantasy catalog recently being purchased by Concord, I've been spinning a lot of OJCs lately. This recording always stands out to me as one deserving wider recognition. Not only does it have fine writing from the pens of Gigi Gryce and Quincy Jones, but the septet line-ups offer some interesting combinations of players. Check out the first session, for instance — Monk Montgomery on electric bass! A somewhat unusual circumstance, it seems, for 1953, but the electricity here seems to serve a purpose, what with Montgomery's pizzicato lines (moving between walking and ensemble passages) being clearly projected through amplification. You also get to hear Cliff Solomon on tenor saxophone, whose fine playing I only know from this album. Listen to the first track, "Mau Mau." Is Quincy Jones the actual composer of "A Love Supreme"? I'm only partly kidding — the ostinato line (right around 1:41) that Solomon, Cleveland, and Estell play behind Farmer's solo appears to be the same, syllables and pitches: a-love-supreme, (a)-love-supreme. Craziness. The last track, from 1956, is appended to the album from Farmer's Two Trumpets session with Donald Byrd, so it doesn't really fit with the septet billing, but what a gorgeous way to close the record. Beautiful ballad playing by Farmer. I'll be interested to read what you all have to say about this one! Late AMG Review

Up for renewed reading. Listening to Party Time — gorgeous sound. Maybe my favorite "Texas Tenor"? Can't say definitively because I don't have that much on disc. Time to get More Party Time. I need a party.

Season's Greetings Everyone. Time for a gin and tonic and some Arnett Cobb.

Argh.

Anyone notice that Dusty Groove yanked all these titles from their site? They're not even listed in the "Upcoming" section anymore. I wonder what the deal is ... On a positive note, Amazon France has sound samples up for the entire series — save "Black Gypsy." I didn't think I'd want the Braxtons ... but now I do. The Clifford Thornton and Alan Shorter sound tasty, too. Is the only place to order these in the States from DMG? (Or should an order from Amazon France be making its appearance on my credit card?) Maybe a waiting game is in order, however. If Universal America decides to distribute them, maybe the price will go down (for U.S. residents) some.

The Marsh is excellent, and it gives good and necessary exposure to Gary Foster. If you haven't yet heard Foster, you're in for a treat. I'll be "upgrading" for this one. Never have heard of the Braxton/Ellington project. Anyone want to shed some light? The Willisau concert (and studio sessions) will go in the basket, and The Long March probably will too, though I've never heard a note. I greedily wanted more Lacy, but ... will be patient.

This one is currently available for $6.99 from The Bards. Here. Recommended, particularly for the Sunshine half of the disc.

I almost plunked for the Gillespies. Listened to the sound samples and liked much ... but my guilty conscience prevented me, especially because — when I order those Free America discs ... ka-ching!

Yes. shiny and black, biggish, with orange circle pasted onto it, and with a hole in the centre. What on earth are you talking about? "Shiny and black"? "Orange circle"? Some kind of cookie? No, wait — pizza? Could you eat it? Why would you eat music? You've got me stumped. Still would like to eat ... hear it though.

Would love to read your thoughts and/or review of any of these when the time is right ...

I just thought it was a typo: Jimmy Blanton Jimmy Blanton (1918-1942) was de eerste bassist die de moderne "walking bass" introduceerde: 4 kwartnoten in de maat met op de 1ste tel de grondtoon van het akkoord, waarbij een lijn wordt gespeeld die leidt naar de volgende 1ste tel met de grondtoon van het volgende accoord. Daarnaast was Blanton één van de eerste bassisten die solo's speelde en waar features (stukken geschreven voor bepaald solo-instrument) voor werden geschreven. Vóór Blanton was men al wel begonnen met het spelen van iets wat op walking bass leek maar, dit was eerder een vervolg op de two-beat (2 halve noten in de maat spelen, met op de 1ste tel de grondnoot) dan echt de walking bass met 4 verschillende noten en alteraties zoals Blanton dat deed. Jimmy Blanton bezat een enorme 'drive', en was een virtuoos solist, strijkend en plukkend lijkt hij te praten via zijn bas. Zijn solo's zijn zeer melodieus en hij was als bassist zijn tijd ver vooruit. Er zijn zeer weinig opnames van Blanton bekend, maar historisch zijn de duo opnamen met Duke Ellington (tussen '37 & '39): krakkemikkig oude opnames waarin je vaak Blanton met zijn voet hoort meetikken. Door opnametechnieken uit die tijd zijn het over het algemeen korte opnames van hooguit 3 minuten. Toch zijn het allemaal meesterstukjes, waanzinnig mooi en intens gespeeld. De opnames waarop Blanton meespeelde waren een van de eerste waar een bas als soloinstrument werd gebruikt. Jimmy Blanton maakt in zijn solo's bijzonder mooie melodieën, waarin de samenhangende lijnen een prachtige harmonie vormen. Elk van zijn solo's vertelt een klein verhaal. In de ongeveer 2 jaar dat Blanton met Ellington (en anderen) speelde, heeft hij zijn stempel gedrukt op het basspel en zo de basgeschiedenis veranderd. Eigenlijk is wel te zeggen dat het moderne basspel zijn roots heeft bij Blanton. Blanton overleed op jonge leeftijd aan de gevolgen van tuberculose.

This one looks like a nugget ... Was it ever available as tangible product?

kh1958 — minus the Byrds and Jazz et Cinema 2, that was my order from Dusty Groove about two years ago ... but not for those prices! The Lucky Thompson Modern Jazz Group might just be my very favorite of the bunch. (Of course, the Byas discs always leave me .) Guy, that Clarinettes a Saint-Germain-des-Pres is a good one. I haven't spun it in quite some time, though. Time to get it out again. I guess tomorrow will be Paris in Oregon.

Up for reading on the series.

Anyone care to post their thoughts/reviews on any of the Bill Evans' hybrid SACDs? (Or link to a review?) Thanks!

Alright already ... tell us which ones you ordered! I haven't ordered any ... yet.

Exceptionally behind the times in this thread (oh, almost 4,000 posts), but I just heard Gianni Gebbia's Arcana Major/Sonic Tarots Session for the first time this weekend. It is indeed, as the expression here goes, The Poop. Unlike so many other solo saxophone projects, I especially like that Gebbia is willing to keep his improvisations short. One to return to.