mjzee

I was aware of Mosaic from their first issue (there was a long article in the New York Times), but it was many years before I could afford one. I bought my first probably around 2000. I now have close to 50. Most recent was Freddie Hubbard. I bought two LP sets on Ebay from, it turned out, Cuscuna, and the Lang/Venuti from Cuscuna and Wentzel (face to face) at the first Mosaic open house. When I lived in Stamford, I made a few trips to their building; those were the days. Let's look forward to future releases.

I thoroughly enjoyed this BFT. I liked every track, and liked how the whole set flowed. This would be good background music for a party. Much of it involved the samba rhythm, but how each track treated it lent variety. I only identified one track (#12). 1. Sounds like Scofield/Lovano, but isn't. Light and lilting. Sax sounded a little like Stan Getz. 2. Synth that sounds like a harmonica! My guess is mid-80's, something a "smooth jazz" FM station might play (or maybe heard in an upscale spa). Spyrogyra, Special FX, one of those. 3. Continuing with the samba lilt, but with a more insistent edge. George Benson? Could be a Blue Note late-60's track, Lee Morgan, but it isn't. 4. The late-'60's vibe continues. Up Up & Away! This is a BFT right up TTK's alley. Sounds like the B-side of a single. 5. Nice groove. Late '60's. Like a permutated Hello Dolly. All professionals, no idea who they are. 6. I love this stuff. Louie? I can listen to this all day. Coleman Hawkins. 7. Acoustic guitar. Ben Webster? Laid-back groove. Could've been mid-40's Blue Note. 8. Alto with strings? Lee Konitz? The strings and arrangement are as much the star as the alto. Jimmy Giuffre arrangement? 9. Late '60's again. Short track. George Benson? Laurindo Almeida? Session musicians actually made money in those days. 10. Tenor sounds familiar. Drummer sounds like Steve Gadd. Arrangement sounds like late '60's, but recording sounds like late '70's. Great charts. 11. Flute and marimba. Fits with the overall groove. 12. As soon as I heard the vibes, I knew. It's track B1 from this. 13. Trumpet, alto, guitar. Remarkable how much is the arrangement vs. time for solos. Then what pops up as the first solo but organ! This wasn't on Prestige, because it required a rehearsal. 14. Similar instrumentation as #13, but with tenor instead of alto. Definitely enjoyed the groove here.

That's mean. Perlman DG box, disc 5.

Just finished listening to "At Hot House." Hearing his sound is like greeting an old friend. Really good date. A fresh rhythm section gives Ben propulsion - he sounds frisky. Great Tete Montoliu. Good sound quality. And a word must be said for the club crowd: they are loud and enthusiastic. A lot of fun.

This reminds me of the one time I visited Ronnie Scott's club. I was in London in 1981, and thought I could just pay admission (ala the Village Vanguard) and see the show. Nope; London's laws stated that only members could be admitted. So I had to buy a one-day "membership;" I don't remember if that was also the price of admission, or if that was extra. The club's acoustics were echo-ey. I saw Art Blakey & The Jazz Messengers, with Susanna McCorkle opening.

No, he's referring to the bulletin board that used to be on Blue Note Records' website. The taxonomy of this BB is based on the BNBB (Blue Note Bulletin Board) with the addition of a Classical discussion. The opinions expressed on BNBB could be a bit rawer than here (if you can believe that). Blue Note Corporate pulled the plug after a stream of vicious attacks on Norah Jones (aka their bread and butter). I really couldn't blame them. Jim A. then sponsored this board with a few restrictions, mostly to promote civility; chief among them is no political discussions.

I echo what Aggie87 says. This is a great place to hang out. Special thanks to Jim A - he didn't have to do it. Let's look forward to at least another 20 years.

I just donated via PayPal. FYI, it didn't show in the total.

Thanks, Randy; I enjoyed this BFT.

Decca - The Mono Years, disc 5. Also contains:

Perlman DG box, disc 4.

Release date May 15: Release date June 15:

Release date May 26: Springing forth from the competing impulses that were the isolation of the 2020 COVID lockdowns and the creative burst that many individuals experienced, Patton, a pianist whose personal humility, deftness of touch, and deep understanding of the jazz tradition has earned him frequent company in the bands of Jimmy Heath and Charles McPherson, presents here a fine recording of former miniatures that may have begun life as pianistic exercises aimed at technical self-improvement, but quickly transformed into fulsome and satisfying artistic ensemble creations.

Release date May 12: Pianist-Composer Richie Beirach Re-Imagines Well Known Jazz Standards in Stunning Solo Piano Concert at France's Château Fleur Cardinale Forty-five years after his first solo piano recording, Hubris, done at Tonstudio Bauer in Ludwigsburg, Germany for ECM Records, with Manfred Eicher presiding as producer of the session by the 30-year-old pianist, Brooklyn-born Richie Beirach returns to that intimate and revealing setting on Leaving (Jazzline). A live concert at Château Fleur Cardinale in Saint-Etienne-de-Lisse, in the St. Emilionregionnear Bordeaux, France, this collection of jazz standards he has played innumerable times over his long and illustrious career finds the the 75-year-old pianist plumbing new depths of emotion and heights of expression in a highly exploratory program. I've never recorded a whole CD of standards playing solo piano, said Beirach. Usually in concert I present original material or I just play a lot of free improv stuff, but this time I wanted to go back and play these tunes again solo in front of a live audience. And I was amazed at the things that I found. Performing on a 9-foot Steinway grand piano before an intimate gathering of 120 people in a French chateau wine tasting room, Beirach puts his own unique stamp on timeless standards like Nardis, Solar, 'Round Midnight, Footprints and Some Other Time. Throughout the concert, he also strings tunes together in unexpected medleys, like What Is This Thing Called Love?/Alone Together/Blue in Green and Spring Is Here/Maiden Voyage/Monk's Dream/You Don't Know What Love Is. And while he incorporates such devices as reharmonization of themes, rhythmic reinvention, counterpoint and motivic development, Beirach is also mindful of incorporating the swing factor into his interpretations of these standards.

Release date May 19:

Why not add this link to your new "Part Deux" thread, and delete this entire thread?

Looks like there was a successor club called The Renaissance II in the '80's. I have a Chet Baker date (with Sal Nistico on tenor) recorded there in November 1984.

This site has some Greg Tardy; I've never shopped with them, though: https://tyqmusic.eu/?s=tardy&post_type=product&dgwt_wcas=1

Some interesting Mosaics available here: https://tyqmusic.eu/label/mosaic-records/

11/20/61 has the announcement by Granz. I have it on this set:

Decca - The Mono Years, disc 4. Also contains the Poulenc from here:

Perlman DG box, disc 3.

Someone who reads Japanese will have to answer.

Emergency! is being reissued in Japan (SHM-CD format) on June 21.