Face of the Bass

Maybe, but I'm still disappointed that since the rumors of a Rivers set started swirling last year and there was the possibility for it coming out at the end of 2010, instead we've seen reissues of Ellington and the MJQ. Not to denigrate those sets, but it just seems to me that the Rivers stuff, because it has been much less available, is far more significant musically and historically. As a huge Mosaic fan I want to see them continue to produce more sets in the mold of Braxton, Threadgill, and Carter/Bradford, among others. To me there's a lot more potential for growth there than there is in going over the more mainstream stuff from the 1950s and 1960s. That said, I'll probably get the MJQ at some point because it is not music that I own (except for maybe one or two albums). But it doesn't generate the same kind of excitement for me as a Rivers set would have.

Thanks, sorry for the messed up link the first time. I don't claim any special knowledge or talent about this music, but I just hope that some of it resonates in some way.

Good morning all, I just wanted to let those who may be interested know that I've started up a new blog, where I'm basically just going to collect my thoughts on the Mosaic stuff that I'm listening to, as I'm listening to it. I guess I just wanted the chance to stretch out a little bit more and look at some Mosaic stuff at times other than when a set is first released or when it is about to go out of print. Just a way, I guess, to try and make some sense of my obsession. Anyway, the site is simply called Mosaic Reviews, and the address is http://mosaicreviews.blogspot.com I've got three posts up so far, and some thoughts on the Lionel Hampton set and the Carter/Bradford Select. Thanks!

Anybody who ordered the discounted Peterson Mosaic from England get their copy yet in the States?

This is a good category to ponder, the category of music that doesn't sound like anything else you have. I think the Jazz Crusaders definitely fall into that group. Another Mosaic that I have that I think falls into that is the Bobby Hackett. Anyway after listening to lots of samples over the last few days I'm putting the Johnny Smith at the top of my list to get. I'm still wading my way through all the amazing music I got for the holidays, but the fact that this is Running Low will make it a priority for me. (I know it will likely last a few months but once I make up my mind to do something, I usually do it as soon as possible so that it won't be on my mind anymore. This is both for good and ill--it can make me more productive with my own writing and research, but it also means that I rarely delay gratification on anything.)

As far as Mosaic sets go, this one is okay but I really wish they had done the Sam Rivers set first.

As an aspiring Paul Chambers completist, I am having mixed thoughts about a couple of the Fresh Sound/Lonehill offers. I am wondering whether I should spring for the two-fer of Wynton Kelly's It's All Right/Undiluted available on Lonehill. I'm not sure if Undiluted has ever received a CD release, but the It's All Right album has only been released on CD through Japan (so far as I can tell) and it would seem to cost me at least $30 to get it, whereas the 2-fer on Lonehill is half that price. Would it be better to get the Lonehill release or to get the It's All Right Japan release and then maybe track down a vinyl copy of Undiluted? I have similar qualms about the Complete Recordings of Jimmy Cleveland. I need to get the Cleveland Style release and can only find expensive Japanese pressings. But for much less I could get the Lonehill... I generally don't like these European poachers but I'm tempted to bend the rules a little bit....

Just heard a Smith recording from the mid 1950s, and damn, I can't keep going back to the well to get yet another Mosaic set, but I can already feel the pull...

Cool. Thanks for checking.

No interest in the Rich set, but the Johnny Smith has me curious, but no audio samples on the Mosaic site?

I only have this music from the Atlantic box set, so I don't have the original liner notes. If someone does have them and wouldn't mind looking it up for me, does Coltrane or the author of the liner notes provide any specific reason behind the name of the tune Dahomey Dance? I know this is when Coltrane was starting to become more interested in Africa, but I was wondering if there was a particular reason that title was chosen. Thanks.

He's an excellent researcher and a good writer, but I wasn't particularly moved by his Monk biography. (It's a fine book, but the writing style didn't grab me the way I hoped it would.) My favorite author of jazz history is John Szwed, FWIW.

Yeah, I've noticed this too. On EBay now part of the problem is that a lot of the Mosaic boxes get posted with only a "Buy It Now" option and the price tends to be ridiculously high, like $285 or something like that. It's somewhat rare when a box actually goes to auction. Still, I feel I was lucky to score the Lee/Christy set for just $90, not really much more than it cost when it was in print (and possibly less once you factor in shipping) but in that case I think the seller made the mistake of not putting the word "Mosaic" in the title. I usually do a "Mosaic" search to see what boxes are out there, but in this particular instance I was specifically looking for the Lee/Christy, so I did that search and the box came up. But I imagine the seller lost a lot of potential page-views by not putting the word "Mosaic" in the title. That said, it kind of makes sense that the prices would come down. The market for these kinds of niche sets is not unlimited.

Some of the lineups are intriguing, but the samples on the Mosaic web site leave me cold.

I've been mildly curious about this set for awhile, but there's nothing in it that really makes me want to have it. I'd hate to pass it up now only to decide a few years from now that I really want it and have to pay 1 1/2 times the current cost (if not more). On the other hand, I just scored a Peggy Lee/June Christy set for a total of $93, including shipping, so steals can be had even after a set goes OOP.

I think collecting is a beautiful activity, and jazz is perfect for it. It's almost like, through the act of collecting something, you aren't just acquiring objects but you are coming to identify a small part of yourself through those objects, and to tap a little bit into the idiosyncratic by-ways to happiness in life.

Well I've been listening to this set regularly for the last week or so, and I'm definitely glad I went ahead and got it. There's something about having all these performances together that just makes Parker--as well as some of the other players on the set, from Miles and Dizzy to Howard McGhee and Curly Russell, to name a few--stand out. Anyway, I'm going to listen some more. But thanks to all those who chipped in with their input. I may springboard off this set to get the Mosaic Benedetti box. I don't think the poor recording quality will be an issue for me. Someone in another thread implied that the Benedetti recording quality is a bit like the Bird on 52nd Street from Fantasy records. Well, I've heard clips of that and if there's more like that, I'm all over it.

So I've got a bit of a want list of CDs right now. I can get most of these through other avenues and I may well do that for some of them, but I wanted to put out this list to see if any has these and would be willing to part with them in exchange for something else, or as a straight sale. If you do have any of these and would be willing to make a trade, send me a pm or respond in this thread. I've got them organized by label: Verve: Wynton Kelly - Comin' In The Back Door Wynton Kelly - It's All Right Wynton Kelly - Undiluted Gil Evans - The Individualism Of Gil Evans Wes Montgomery - Willow Weep For Me Joe Henderson - Four Atlantic: Harry Lokofsky - Stringsville Bethlehem: Frank Minion - The Soft Land Of Make Believe Contemporary: Hampton Hawes - Bird Song ABC/Impulse!: Quincy Jones - This Is How I Feel About Jazz Mercury: Jimmy Cleveland - Cleveland Style Bob Brookmeyer - Jazz Is A Kick Riverside: Bennie Green - Glidin' Along Savoy: Cannonball Adderley - Discoveries Hank Jones - Hank Jones Quartet Sahib Shihab - Jazz Sahib, Jazz Is Busting Out All Over A.K. Salim - Pretty For The People Blue Note: Clifford Jordan - Cliff Jordan Sonny Clark - Standards Lee Morgan - Rajah Prestige: King Pleasure - King Pleasure Sings Bennie Green - Blows His Horn Hal McKusick - Triple Exposure Red Garland - Rediscovered Masters, Vol. 1 King Curtis - The New Scene Of King Curtis Sonny Criss - Portrait Of Sonny Criss Sonny Criss - Rockin' In Rhythm Richard "Groove" Holmes - Get Up And Get It! Barry Harris - Bull's Eye

I was just writing along those same lines, when I saw you responded! I've read posts where Mosaic has said that the Boxed sets (not Selects) are sent out in numerical order. However, I was looking through my sets and I ordered the Lionel Hampton set in Feb. 2010 and that number is 4082/5000. Okay, now we have definitive proof that they don't go out in chronological order. I got the Hampton set two weeks ago and my number is 2481. So, the next time somebody says they put them out in the order they are shipped, just link to this thread and we can dispel that impression once and for all.

I don't believe it because we get these threads every few months, with somebody reporting a numbered box near the limit, but that doesn't seem to lead to the box moving to Running Low status. I don't believe it is just straight chronological order.

Probably about 2,000 CDs and about 10 LPs.

PM sent on the Toshiko Trio disc.

In something like chronological order, in terms of when I encountered them in my life: 1. Jimi Hendrix - Electric Ladyland. I think I first heard this when I was 16 years old. I remember I went on a trip with my sister to Ocean City, Maryland, and something about the sunshine and the breezes off the ocean triggered a desire to hear Hendrix. To be honest, I don't think I ever really understood the power music had to be transformative until I heard the opening few minutes of 1983: A Merman I should Turn To Be... 2. Bob Dylan - Blonde on Blonde. Listening to Hendrix sort of naturally led me to Dylan, first through his greatest hits packages and then the individual albums. This is the first one that really blew me away, and I think the full effect of it came when I was around 17 or 18 years old. For me, there are few lyrical performances as wonderful as Stuck Inside of Mobile with the Memphis Blues Again. This music not only changed the way I thought of music, it changed the way I thought of language. After hearing this I became more interested in poetry and in becoming a writer. 3. Miles Davis - Sketches of Spain. Today this is nowhere near my favorite Miles album, but at the time I heard this I was absolutely blown away by the orchestration and the lyric expressiveness of Miles' trumpet playing. I didn't really encounter this music until I was about 25 years old. It snapped me out of a musical boredom that had been created by listening to too much Dylan, too many songs based on guitars and simple chord structures. This is the album that turned me on to jazz. 4. Cecil Taylor - Jazz Advance. My journey through jazz history was an accelerated one, and I think I decided to listen to Cecil after he was crudely dismissed by Ken Burns in his infamous documentary. The brilliance of this recording, which I first remember experiencing sometime around 2003-2004, shocked me. His truly percussive approach to the piano made me feel like I was hearing for the first time the way the instrument was, in some respect, meant to be played. This recording really made me realize what avant-garde jazz, at its very best, was all about. 5. Lee Morgan - Leeway. This is an odd choice, I admit. I could have gone another direction and picked Keith Rowe and John Tilbury's Duos for Doris, which had its own impact on me. But I'm going with the Morgan because it was listening to this for the first time, around 2006 or 2007, that made me realize what an absolutely brilliant bass player Paul Chambers is. After listening to one of his solos on this record, while I was driving on I-97 between Baltimore and Annapolis late at night, I decided I was going to seek out every recording with Chambers on it that I could get my hands on. That solo was what made me truly appreciate the bass, and led me to seek out other great bassists like Oscar Pettiford, Jimmy Blanton, etc. It reshaped the way I think about (and especially the way I listen to) jazz music. When I was spending a year away from home doing research in Africa in 2009, I made his solo on this album my ring tone. My Namibian assistant grew very fond of hearing it every time I had a new message and so I got to tell her about who Chambers was. And finally, listening to this led me to the perhaps foolish decision to buy my own bass in January 2010, which I did, and start practicing on it in my own humble way, which I have.

You guys convinced me. I went for the 8 disc box.

My parents got me the Lionel Hampton Mosaic set, my brother-in-law got me the John Carter/Bobby Bradford Select and the Art Blakey Hard Bop Mosaic single, my sister got me the Dylan Witmark Demos, and I am spending some Christmas money on the Charlie Parker Savoy & Dial Studio Sessions box.