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Earl Hines Mosaic box scheduled for release in December 2012


J.A.W.

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Scott Wenzel told me the Earl Hines Mosaic box is scheduled for release in December 2012. It will include Sony-owned material (OKeh, Columbia, Bluebird, Victor, Signature, Vocalion) from 1928-1945.

Brunswick and Decca sides included ? . I'm guessing yes and no respectively.

Only Sony-owned material. No stuff that is owned by Universal.

The Brunswick material should be within Sony's ownership. It was part of ARC, same as Vocalion, which was Brunswick's subsidiary before ARC bought the company from Warner Bros. (Unless it's European Brunswick, which was a part of UK Decca and now Universal.)

MG

Not the complete story.

ARC did not buy Brunswick and Vocalion from Warner Bros. They leased the labels for al long as ARC sold a minimum of 250,000. Brunswick records a year. In 1940 CBS who now owned ARC failed to do so and the rights reverted back to Warner Bros.. When ARC leased Brunswick/Vocalion all masters up to December 3, 1931 remained with Warner Bros.. Decca bought Brunswick/Vocalion including pre December 3, 1931 masters in 1941. The Brunswick masters recorded by ARC/CBS remained with CBS.

US Decca also acquired some post 1931 Brunswick masters in 1934, when the firm was set up. A number of Brunswick artists were contracted personally to Jack Kapp, not Brunswick, and he took them and their masters to Decca when he and Sir Ted Lewis set it up. I think that Bing Crosby was among these artists.

So the germane point is, to which lot do Earl Hines' Brunswick recordings belong?

MG

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Scott Wenzel told me the Earl Hines Mosaic box is scheduled for release in December 2012. It will include Sony-owned material (OKeh, Columbia, Bluebird, Victor, Signature, Vocalion) from 1928-1945.

Brunswick and Decca sides included ? . I'm guessing yes and no respectively.

Only Sony-owned material. No stuff that is owned by Universal.

The Brunswick material should be within Sony's ownership. It was part of ARC, same as Vocalion, which was Brunswick's subsidiary before ARC bought the company from Warner Bros. (Unless it's European Brunswick, which was a part of UK Decca and now Universal.)

MG

Not the complete story.

ARC did not buy Brunswick and Vocalion from Warner Bros. They leased the labels for al long as ARC sold a minimum of 250,000. Brunswick records a year. In 1940 CBS who now owned ARC failed to do so and the rights reverted back to Warner Bros.. When ARC leased Brunswick/Vocalion all masters up to December 3, 1931 remained with Warner Bros.. Decca bought Brunswick/Vocalion including pre December 3, 1931 masters in 1941. The Brunswick masters recorded by ARC/CBS remained with CBS.

US Decca also acquired some post 1931 Brunswick masters in 1934, when the firm was set up. A number of Brunswick artists were contracted personally to Jack Kapp, not Brunswick, and he took them and their masters to Decca when he and Sir Ted Lewis set it up. I think that Bing Crosby was among these artists.

So the germane point is, to which lot do Earl Hines' Brunswick recordings belong?

MG

I checked the Tom Lord Disco and some tracks from the 1932/1934 and 1937/1938 originaly issued on Brunswick/Vocalion haven been re-issued on Columbia,CBS and Epic. That indicates Sony owned. Hines did not record for Brunswick before 1932 as a leader. He did off course record with Jimmie Noone for Brunswick/Vocalion. I don't think there was a personal contract with Jack Kapp.

Edited by Stompy Jones
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There are few things more goofily intricate than the whole ARC/Brunswick/Decca/Columbia mess. All that said, it is too bad that Mosaic couldn't have contracted with Universal for the '34-'35 stuff that Hines recorded for Decca. At least, I think it was Decca. I have an ancient LP on the old Decca Jazz Heritage Series (with that awful "reprocessed for stereo" sound) by the Hines band from that period. Of course, that would mean going over Mosaic's oddly self-imposed 7-cd limit.

gregmo

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There are few things more goofily intricate than the whole ARC/Brunswick/Decca/Columbia mess. All that said, it is too bad that Mosaic couldn't have contracted with Universal for the '34-'35 stuff that Hines recorded for Decca. At least, I think it was Decca. I have an ancient LP on the old Decca Jazz Heritage Series (with that awful "reprocessed for stereo" sound) by the Hines band from that period. Of course, that would mean going over Mosaic's oddly self-imposed 7-cd limit.

gregmo

This is the first time I've heard of a 'self-imposed 7-cd limit'. The Sonny Stitt and Ahmad Jamal boxes have 9 CDs.

MG

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Mosaic sets with 7 CDs are the most cost-effective ones, but there's no "hard" 7CD limit. For instance, the recent Duke Ellington big-band and Coleman Hawkins sets have 11 and 8 CDs respectively.

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Again, as Scott told me only Sony-owned material will be included in the Earl Hines set, so it'll have no Universal-owned stuff.

Edited by J.A.W.
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Why would 7 be cost-effective? unsure.gifunsure.gif

Mosaic sets with 7 CDs are the most cost-effective ones, but there's no "hard" 7CD limit. For instance, the recent Duke Ellington big-band and Coleman Hawkins sets have 11 and 8 CDs respectively.

-------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Again, as Scott told me only Sony-owned material will be included in the Earl Hines set, so it'll have no Universal-owned stuff.

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will this be Mosaic # 252?

Hans?

I have no idea, I didn't ask Scott. I guess you'll have to wait for the answer until the set is up for pre-order on Mosaic's "Upcoming Releases" page, or maybe you could ask Scott yourself :)

Why would 7 be cost-effective? unsure.gifunsure.gif

Mosaic sets with 7 CDs are the most cost-effective ones, but there's no "hard" 7CD limit. For instance, the recent Duke Ellington big-band and Coleman Hawkins sets have 11 and 8 CDs respectively.

-------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Again, as Scott told me only Sony-owned material will be included in the Earl Hines set, so it'll have no Universal-owned stuff.

See this post.

Edited by J.A.W.
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Sonic aspects aside, what exactly is there on that set that's new, really new, and never before released that has not been on that fantabulous Bluebird 2-LP set from the 70s ("The Father Jumps") covering the 1939-45 period nor on the TWO 2-LPs sets (Jazz Tribune series, Vols. 5 + 19 on French RCA) from the 80s?

The latter ones expand upon the Bluebird set but include little of really great substance (most of the added tracks are relatively forgettable vocal features that hold interest mostly for completists).

New, hard-swinging Fatha stuff from that period would be the clincher for me (depending on how much there actually is).

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  • 3 weeks later...

Sonic aspects aside, what exactly is there on that set that's new, really new, and never before released that has not been on that fantabulous Bluebird 2-LP set from the 70s ("The Father Jumps") covering the 1939-45 period nor on the TWO 2-LPs sets (Jazz Tribune series, Vols. 5 + 19 on French RCA) from the 80s?

The latter ones expand upon the Bluebird set but include little of really great substance (most of the added tracks are relatively forgettable vocal features that hold interest mostly for completists).

New, hard-swinging Fatha stuff from that period would be the clincher for me (depending on how much there actually is).

I haven't done comparisons and yet I doubt there will be mch that is "really new" here. But the truth is for many who haven't been collectors of this material on lp this material will be welcom on cd in the Mosaic reissue quality.

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Sonic aspects aside, what exactly is there on that set that's new, really new, and never before released

The only new title (as opposed to alternate takes) is Satchel Mouth Baby from the final 1945 session. If we're lucky, it has a Wardell Gray solo. Despite this being the Hines band's first session after the record ban, nothing from it was released at the time. Two tracks were later released on an LP, and now this third track comes out. There should normally have been a fourth track recorded, but Lord does not list any either.

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just sent them this email:

love him, but Bud Powell was way more influential; Hines was one of the

hardest to approximate, and I can think of maybe only 3 pianists I ever

heard who showed a real strong Hines influence (Joe Sullivan, Sammy Price,

Dill Jones) -

though there are probably some more, like Zinky Cohn. But if you can name

me 20 I will change my opinion -

- Akkeb Lowe

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