mikelz777

I won as well!! I'd already forgotten about it or thought it was already over. Pretty cool! As cool as it is, I'll probably end up selling it. Since entering the contest, I picked up Coltrane's complete Prestige recordings so I have everything on the Fearless Leader box. It's a pretty nice package though!

I whole-heartedly agree, this is a great box set.

For what it's worth, here's the AMG review of the Patton Mosaic Select. They give it a rating of 4.5 stars out of 5. The Mosaic Select treatment has deservedly been given to Big John Patton. There are those who argue that Patton's entire catalog should have been the subject of a Mosaic box set proper. There was easily enough material for five, if not six, CDs. There are five albums collected here. His first three, Along Came John, The Way I Feel, and Oh Baby!, were recorded in 1963, 1964, and 1965, respectively. The last two on this set are That Certain Feeling and Understanding, from 1968. Missing are Blue John, his proper second album from 1963 and unreleased until 1986, Let 'Em Roll, and Got a Good Thing Goin', released in 1965 and 1966, and his post-1968 work, Accent on the Blues, Memphis to New York Spirit (unreleased until 1996), and Boogaloo. Quibbling aside, of the material included here, only Along Came John is currently available domestically, making this set a necessary purchase for Patton fans who have not shelled out the big bucks for Japanese pressings. Virtually every one of these outings is important, the first because it showcased Patton outside of his stead in Lou Donaldson's great early-'60s combo, accompanied by tenors Fred Jackson and Harold Vick with Grant Green and Ben Dixon. The band changed only slightly for The Way I Feel, when Vick was replaced by trumpeter Richard Williams. On Oh Baby!, Jackson was replaced by Vick and Williams by Blue Mitchell. These three dates are all very much of a piece. The band stays deep in the funky blues groove while nodding to the waning days of hard bop. And while the horns are generally regarded as strictly meat and potatoes on these sides, a close listen will correct that erroneous perception. In the late '60s, Patton's sound became more lean, yet also more expansive and spacious. With Junior Cook on saxophone, Clifford Jarvis on drums, and Jimmy Ponder on guitar, Patton embarked on That Certain Feeling, one of his most illustrious dates as a leader. Ponder's fluid and edgy runs nicely complemented Patton's now arpeggio-heavy manner of playing. Cook's smoky tone that came out of both Ben Webster and Coleman Hawkins added depth, dimension, and ambience to the band's sound. On the final session here, Understanding, the sound cut even closer to the bone: Harold Alexander was enlisted on tenor and flute, with drummer Hugh Walker the only other musician involved. The trio played all around the groove jazz sound, while turning it inside out in Alexander's out-ish honking solos. Patton's organ is way up in the mix, shape-shifting time signatures inside a 2/4 meter. The pace is aggressive, deep, and at times dissonant, making an excellent case for reappraisal here, as it dates better than anything else on this set. All in all, this is a deep, sometimes mystifying collection featuring Patton as a composer, bandleader, and arranger. His sense of rhythmic dynamics is among the most sophisticated in the history of the jazz B-3. There isn't a weak second on any of this material and it should be snapped up before Mosaic's copies go — they do not reissue. Blue Note should take the cue, do the entire catalog in 24-bit audio, and hustle it out there.

I think my first box set was Bob Dylan's "Biograph" about 20 years ago. My first jazz box set was the Crusaders' "Way Back Home" 15+ years ago . Ironically, my first Mosaic was "The Jazz Crusaders' Complete Pacific Jazz Recordings" in 2005. I didn't think I'd ever fill all the holes in the Way Back Home set. (I still need "Old Socks, New Shoes".)

*****SOLD***** For sale: discs 2 and 3 of Mosaics The Complete Capitol Bobby Hackett Solo Sessions. I bought these discs seperate from the box so you'd be getting the 2-CD case with the original artwork, song and personnel listings included just as you'd find them in the complete set. The discs are like new. $16.00 for the pair delivered. Paypal only please. These discs deserve a better home and more attention than I think I will be able to give them. DISC II Rendezvous 1. You Are Too Beautiful (J) 3:02 (R. Rodgers-L. Hart) 2. Thank You For A Lovely Evening (I) 2:36 (J. McHugh-D. Fields) 3. Autumn Nocturne (H) 2:34 (J. Myrow-K. Gannon) 4. Cocktails For Two (G) 2:56 (S. Coslow-A. Johnston) 5. When I'm With You (J) 3:06 (M. Gordon-H. Revel) 6. We Kiss In A Shadow (H) 3:05 (R. Rodgers-O. Hammerstein II) 7. Two Cigarettes In The Dark (J) 2:33 (P. Webster-L. Pollack) 8. The Very Thought Of You (I) 2:32 (Ray Noble) 9. The Way You Look Tonight (H) 2:30 (D. Fields-J. Kern) 10. Moonlight Becomes You (J) 3:12 (J. Van Heusen-J. Burke) 11. Love Me (H) 3:04 (V. Young-N. Washington) 12. One Kiss (I) 2:24 (O. Hammerstein II-S. Romberg) 13. My Heart Stood Still (I) 2:48 (R. Rodgers-L. Hart) Don't Take Your Love From Me 14. Ev'rything I Love (P) 2:51 (Cole Porter) 15. Moonlight Serenade (N) 3:17 (M. Parish-G. Miller) 16. Put Your Dreams Away (O) 2:37 (Mann-Weiss-Lowe) 17. Softly As In A Morning Sunrise (N) 2:52 (S. Romberg-O. Hammerstein II) 18. Wonderful One (P) 2:57 (P. Whiteman-F. Grofe) 19. Zigeuner (O) 2:23 (Noel Coward) 20. Don't Take Your Love From Me (P) 3:21 (Henry Nemo) 21. Autumn Serenade (N) 2:52 (P. DeRose-S. Gallop) 22. If I Had A Million Dollars (O) 2:38 (M. Malneck-J. Mercer) 23. A Handful Of Stars (O) 3:16 (T. Shapiro-J. Lawrence) 24. Street Of Dreams (P) 2:33 (S. Lewis-V. Young) 25. The Thrill Is Gone (N) 3:44 (L. Brown-R. Henderson) DISC III Gotham Jazz Scene 1. At The Jazz Band Ball (M) 2:46 (D. La Rocca-L. Shields) 2. Lazy Mood (K) 3:58 (E. Miller-J. Mercer) 3. Wolverine Blues (M) 2:40 (Morton-Spikes-Spikes) 4. The Continental (K) 2:37 (C. Conrad-H. Magidson) 5. Rose Room (M) 3:17 (H. Williams-A. Hickman) 6. In A Little Spanish Town (L) 2:37 (Lewis-Young-Wayne) 7. Cornet Chop Suey (L) 2:38 (Louis Armstrong). 8. Caravan (K) 3:16 (Ellington-Tizol-Mills) 9. Tin Roof Blues (L) 5:30 (Roppolo-Mares-Pollack-Brunies-Stitzel-Melrose) 10. Albatross (L) 2:57 (D. Cary-M. McPartland) 11. Henry Hudson (M) 2:40 (Dick Cary) 12. It Don't Mean A Thing (L) 3:06 (D. Ellington-I. Mills) At The Embers 13. Paradise (S) 2:46 (G. Clifford-N. Brown) 14. Spring, Beautiful Spring (Q) 2:37 (Paul Lincke) 15. C'est Magnifique (Q) 2:21 (Cole Porter) 16. I'll See You In My Dreams (S) 2:30 (G. Kahn-I. Jones) 17. It's Been So Long ® 2:15 (H. Adamson-W. Donaldson) 18. That Naughty Waltz ® 2:07 (S. Levy-E. Stanley) 19. Cheek To Cheek ® 2:48 (Irving Berlin) 20. If I Had My Way ® 2:38 (J. Kendis-L. Klein) 21. My Monday Date (S) 2:17 (Earl Hines) 22. If You Were There (S) 2:21 (Farrow-Ackers-Slawson) 23. All Of You (Q) 2:14 (Cole Porter) 24. Rosalie (Q) 2:05 (Cole Porter) RENDEZVOUS: (G) Bobby Hackett (cor) with unknown vibes, piano, guitar, bass and drums, Glenn Osser (arr). NYC, January 23,1956 20988-10 Isn't It Romantic? previously unissued 20989 Cocktails For Two T 719 20990-3 If You Were The Only Girl In The World previously unissued 20991-9 Together - (H) Bobby Hackett (cor) unknown piano, bass and drums with French horns, reeds and harp arranged and conducted by Glenn Osser NYC, February 13,1956 20999 Autumn Nocturne T 719 21000 We Kiss In A Shadow - 21001 The Way You Look Tonight - 21002 Love Me - (I) Bobby Hackett (cor) unknown piano, guitar, bass and drums with trumpets and reeds arranged and conducted by Glenn Osser NYC, February 15,1956 20998 The Very Thought Of You T 719 21003 One Kiss - 21004-6 My Heart Stood Still previously unissued 21005 Thank You For A Lovely Evening T 719 (J) Bobby Hackett (cor) unknown piano/celeste, guitar, bass and drums with reeds arranged and conducted by Glenn Osser NYC, April 3,1956 21067 When I'm With You T 719 21068 You Are Too Beautiful - 21069 Moonlight Becomes You - 21070 Two Cigarettes In The Dark - ________________________________________________________________________________ GOTHAM JAZZ SCENE: (K) Bobby Hackett (cor), Dick Cary (E flat horn), Ernie Caceres (cl, bari), Tom Gwaltney (cl, vbs), Mickey Crane (p), John Dengler (tuba), Milt Hinton (b), Nat Ray (d). NYC, March 27,1957 21451-5 Caravan T 857 21452-13 Lazy Mood - 21453-8 The Continental - (L) same as session (K) except Al Hall replaces Milt Hinton. NYC, April 4,1957 21454-10 In A Little Spanish Town T 857 21455-3 Tin Roof Blues - 21456-11 Albatross - 21457-4 It Don't Mean A Thing previously unissued 21463-6 Cornet Chop Suey T 857 (M) same as session (K) NYC, April 10,1957 21480-9 Henry Hudson T 857 21481-5 Wolverine Blues - 21482-4 Rose Room - 21483-5 At The Jazz Band Ball - ________________________________________________________________________________ DON'T TAKE YOUR LOVE FROM ME:: (N) Bobby Hackett (cor), Cutty Cutshall, one or two unknown (tb), Dick Cary (E flat horn), Bob Wilber (ts,ss), four unknown (saxes & reeds), Dick Hyman (p, harpsichord), unknown (g), John Dengler (b), unknown (d,tambourine), three females (background vocals), David Terry (arr, cond) NYC, November 27,1957 21793 Autumn Serenade T 1002 21794 Moonlight Serenade - 21795 The Thrill Is Gone - 21796 Softly As In A Morning Sunrise - (O) same as session (N). NYC, December 12,1957 21809 Put Your Dreams Away T 1002 21810 Zigeuner - 21811 A Handful Of Stars - 21812 If I Had A Million Dollars - (P) same.as session (N) NYC, December 19,1957 21815 Ev'rything I Love T 1002 21816 Wonderful One - 21817 Don't Take Your Love From Me - 21818 Street Of Dreams - ________________________________________________________________________________ AT THE EMBERS: (Q) Bobby Hackett (cor), Pepe Moreale (p), John Giuffrida (as John Giuff) (b), Buzzy Drootin (d). NYC, May 6,1958 22126-12 C'est Magnifique ST 1077 22127-11 Spring, Beautiful Spring - 22128-13 All Of You - 22129-5 Rosalie - ® same as session (Q) NYC, May 7,1958 22130-19 Cheek To Cheek ST 1077 22131-9 It's Been Su Long -1 - 22132-6 If I Had My Way - 22133-10 That Naughty Waltz - -1 mistitled It's Been A Long, Long Time on the original album. (S) same.as session (Q). NYC, May 8,1958 22134-11 Paradise ST 1077 22135-9 I'll See You In My Dreams -1 - 22136-10 If You Were There - 22137-9 My Monday Date -

Now why couldn't I have waited one week? Is that price each or total for the two sets?

-Art Pepper -Bill Evans -Hank Mobley -Donald Byrd -Frank Sinatra

I recall an episode which totally and unexpectedly brought serious tears to my eyes. It was an episode where JD had a female patient who knew she was going to die yet she had this bright and positive attitude. He asked her what she thought dying was going to be like and she said that she envisioned it something like a Broadway musical with music and song. When it came time and she died, JD's coworkers were consoling him for losing the patient but he was consoled with one of his "head fantasies"where he envisioned the deceased patient being sent off with her singing this wonderful ballad accompanied by other members of the hospital staff. It totally worked on me and I still am moved just thinking about it. The episode where Cox's best friend and brother-in-law (played by Brandon Frasier) returns after a two-year absence (susequent to a 2 episode story arc earlier in the season or in the prior season) was also touching with it's surprise ending. I don't think I started watching this until the 2nd season, but got totally hooked thereafter. I think the incredibly delicate balance between off the wall comedy and the way they dealt with serious issues and relationships at the same time is wonderful. I'm literally buying the show's premise and have the first 4 seasons on DVD and I think they're all great. I don't like what I've seen so far of the 6th season. I think the show is showing some serious slipping.

To me, it's more of a comedrama than a dramedy. dramedy=a drama with comedic touches. comedrama=a comedy with dramatic touches.

Is anyone else here a fan of the TV show "Scrubs"? Is it just me or is this series a bit off this season? It seems like the humor is a little flat like they have new writers or something who don't quite fit into the groove of the show. It seems as if the timing or rhythm is off and parts of it seem kind of forced. I don't think I've seen an episode yet this season that had the rhythm, flow or charm of past seasons. Also, I don't think the introduction of children is going to help the series at all and may even signal the beginning of the end. I already hate that Cox's kid is already a walking/talking toddler and is getting as much air time as he has. Sure, that character does exist, but we don't necessarily want to see them. Has anyone else picked up on a different vibe from the show this season?

Email sent for vols. 3 & 4.

He was just goofin' on SNL, but Eddie Murphy did a pretty good job.

We're less than two weeks from the New Year! Are you making any resolutions? One of mine is probably one of the most common resolutions made-losing weight. I'd like to lose at least 30 pounds. My second big resolution is to spend much much more time listening to the music I have and much much less effort acquiring new music. After the post holiday sales and $$ gifts, I may try and ban new purchases for at least 6 months. It'll be tough, but I think I could do it.

This is probably a stupid question but what is the difference? I am sure that there is one but since I have not been bitten by the Mosaic collector bug I am not aware of the distinction. Are they both released by Mosiac? Thanks in advance The only differences I'm aware of is that the booklets in the Universal Mosaics are not hand-numbered and the entire box is shrink-wrapped rather than just the individual CD cases. Otherwise, they're identical in content and appearance.

If it's an acceptable offer, why not take it? Why try to get board members bidding against each other? I don't really care for the thought of this turning into an auction site, amongst friends, though maybe I'm reading too much into this. You make an excellent point. Maybe I will. Advice taken. Sometimes I don't think very clearly. I blame the holidays!

If it's an acceptable offer, why not take it? Why try to get board members bidding against each other? I don't really care for the thought of this turning into an auction site, amongst friends, though maybe I'm reading too much into this. You make an excellent point. Maybe I will.

One acceptable offer tendered. I'll let this go through Christmas since holiday viewership will be a bit slower and plan to ship on Tues. the 26th if a deal is struck.

Correct, it is the Universal set.

**********SOLD********** I have a brand new, mint, still sealed Tal Farlow Universal Mosaic box set (7 CDs) that needs a new home. I already have the set and love it, but I don't need a second copy. I was thinking of selling it on Ebay or on Amazon, but I'd really rather sell it to an appreciative jazz fan here. PM me if interested and make an offer. For certain I'd be expecting less than the total of $129.00 it would cost to get this at the Mosaic site but would still like to get a fair/decent price. Make an offer, I'm sure we could probably work something out. If I'm able to come to agreement with a buyer, the box set would be shipped securely in a box with bubble-wrap protection. I would include insurance and tracking/proof of delivery. Paypal only please. Item will be shipped within 24 hours after receiving payment. Item ships from Minnesota. I'll communicate with you and keep you posted each step of the way, personal service you'll get nowhere else. “What Ever Happened to Tal Farlow?” That question was asked often in the late 1950s, when this immensely talented and highly honored guitarist seemed to suddenly disappear. But there was no mystery over his whereabouts if you lived in Sea Bright, New Jersey, and needed a sign painted. We expect musicians with extraordinary talent to pursue their musical dreams to the exclusion of sanity, family, personal health, and financial stability. But Tal Farlow, who The New York Times called “one of the most accomplished jazz guitarists playing today,” also loved painting signs. And when he decided the life of a musician didn’t suit his temperament, he left it largely behind. From time to time, Farlow came out of seclusion to perform, right up to shortly before his death in 1998. But he nearly always returned to the spot he enjoyed on the New Jersey coast where he fished, watched the water, and gave guitar lessons. The calm and peace he experienced there was far from the frenzy he caused in the late 1940s and 1950s, when the sound of the man who is universally regarded as one of the greatest bop players ever ignited the ears of musicians and fans alike. Classics Unearthed Most of Farlow’s work as a leader was for Verve Records, and all of it is collected for the first time in Mosaic’s “The Complete Verve Tal Farlow Sessions,” covering his work for the label from 1954 to1959, when Farlow was at his peak. Much of it has been out of print for quite some time; very little of it has ever been available on CD in the U.S. (although much of it has been released on CD in Japan); and all of it is worth hearing again for the modernity of his approach, the musicality of his thought process, and the virtuosity of his technique. Talmadge Farlow grew up in Greensboro, North Carolina, a textile center. That industry employed his dad, who worried that his frail kid wouldn’t survive the dust and industrial chemicals. He got the boy an apprenticeship as a sign painter instead. Everyone around him was listening to hillbilly music on the radio, but Tal, painting at night, began pulling in distant radio stations. That’s how he discovered Charlie Christian. Other Influences He also came under the spell of Art Tatum’s layered chords and the simplicity of Lester Young, whose solos reminded him of what he had heard Christian doing (proof, in Farlow’s mind, that Christian bore a strong debt to the horn player’s work). As a child, he played mandolin. Later , when he developed enormous hands and long fingers, he found he could play the two lower strings of the standard guitar with his thumb in ways most guitarists hadn’t explored. In later years, Farlow also experimented with the basic design of the guitar itself. Gibson built for him a special instrument with a shortened neck that allowed his long fingers to stretch even further. High notes that frequently sound harsh and metallic were softer, mellower, even at the blistering speed with which Farlow could play. New York Calls At first the music was a hobby – Saturday night dance hall gigs – but eventually, music won out. The pianist Dardanelle brought him to New York in 1944, which meant exposure to the 52nd Street music scene that was blazing just then. Parker, Gillespie, Webster, Tatum, Powell, Roach. . . Farlow was mesmerized. He lived it. Devoured it. He even managed to master Parker’s solos on guitar. Not easy to do. Real fame came soon in the Red Norvo Trio with Charles Mingus. When he began making his own recordings for the legendary perfectionist, Norman Granz, his personal style and technique were in full flower. These recordings for Verve are a clear example of why a wide variety of guitarists to this day cite Tal Farlow as a major influence. If it’s solos that interest you, his are disarmingly original and technically brilliant. If you are a fan of the harmonic possibilities of the instrument, Farlow explores it fully. If the sheer sound of the guitar is something you enjoy, Farlow makes his sing like no one else. Farlow. Complete. And if it’s just great music you’re looking for, you’ll find much to like. The seven CDs in this set include 99 tracks, many of them jazz classics and riffs on popular tunes. “Tenderly,” “Skylark,” “Cherokee,” “Autumn Leaves,” “Stompin’ At The Savoy,” “Jordu,” “Yardbird Suite,” and dozens more get the Tal Farlow treatment, with support from such “sidemen” as bassists Red Mitchell, Oscar Pettiford, Milt Hinton, and Ray Brown; pianists Gerald Wiggins, Claude Williamson, and Eddie Costa; and drummers Joe Morello, Chico Hamilton, and Stan Levey. Trio and quartet dates predominate, but there are quintets, sextets and septet dates as well. We’ve even included one date from 1951 on Decca featuring the Red Norvo Trio of Norvo, Farlow and Red Mitchell. The package includes three previously unissued alternate takes, as well as a number of interesting breakdowns and alternates on seven tunes. The lavish booklet contains a complete discography and liner notes by guitarist Howard Alden. For his innovations, his taste, and his tireless jazz explorations, Tal Farlow will be remembered. Thanks to this Mosaic release, he will also be heard.

Sometimes I think the problem that many people encounter is that they think that they should feel differently than they do or that they should feel a certain way based on others expectations. If you get into the state of mind that you're "not making the grade" then it's easy to feel like you're out of sorts and like you have the holiday blues. We're not always going to reach those emotional highs but that doesn't necessarily mean the holidays are going to be a washout either. I'm trying harder and harder to connect with my faith and the reason Christians celebrate Christmas. It puts everything else into perspective.

Thanks tranemonk. You're right, it is a good one! I'm least enthused about the Art Farmer Orchestra stuff on the last disc and I even enjoy that! It's a solid and enjoyable set all the way through. I think exchanging the Bobby Hackett Mosaic for the Farmer/Golson Jazztet was an excellent move. It's funny how things worked out though. I got buyers remorse after picking up the Hackett set and reading the booklet. Even the booklet was kind of dumping on some of the material (the stuff with the female vocals) and I wondered how much I would really listen to this set with all the lush string stuff and the unusual Hawaiian stuff. I was more interested in hearing Hackett's wonderful horn in a small group setting. As I was browsing through Ebay today, I saw someone had Hackett's Mosaic discs 3 & 4 for sale which contained Gotham Jazz Scene, At The Embers, The Bobby Hackett Quartet, and Easy Beat which were the four sessions I was most interested in hearing on the entire box set. (An octet and three quartets.) Only $13.00 shipped for the both of them! It looks like I'll be getting the best (for me at least) portion of the Hackett Mosaic at a pretty nice price! Listened to the Farmer/Golson Jazztet discs 1 and 2.

How long are these going to be available? I'm not going to be able to order right away.

I get that vibe too. The focus and drive should be to get Art's art out there and, of course, the money getting to the appropriate people should follow. This scenario seems kind of flipped around with all the talk and focus on the money. Then again, who loses? The fans get to hear music they otherwise wouldn't, and the people who should be getting paid are getting paid.

Disc 6 of the Farmer/Golson Jazztet which features the Golson quartets. I really love his rendition of "Stella By Starlight" and "My Romance" is very nice as well. <edit> On to disc 7 listening to Golson's "Take A Number From 1 To 10". I've read criticisms about the concept of this recording but it's working for me. Interesting.