From the time of his first Blue Note recording in 1964 to his final session for the label in 1967, Sam Rivers made stunning progress as an avant-garde innovator. Starting with an inside/outside hard bop foundation, Rivers quickly took his music as far out as he could while maintaining a recognizable structure; his work fearlessly explored wildly dissonant harmonies and atonality, dense group interaction, cerebral rumination, and passionately intense, free-leaning solos.
Benny Goodman took some stylistic chances during his 11-year tenure with Capitol. He listened closely to, then flirted with, bebop during this time, not altering his own swing-based playing but inserting it into a bop framework. He also played traditional swing in various small groups. The sessions covered on this most recent Mosaic four-disc (six-album) set were originally issued on a number of 10" and 12" albums, as well as the CDs BG in Hi Fi and The Benny Goodman Story, a Japanese issue.
In this DVD, ABS Mastersmith Ed Caffrey will show you some of the most common Mosaic Damascus patterns. The information is designed to be easy to understand, and will allow you to take the "next logical step" towards producing your own Mosaic Damascus. Ed covers how to create a radial pattern, a basket weave pattern, a jelly roll pattern, and how to do an "accordion" fold. This DVD, at almost two hours, also provides a recap of tools, safety, and etching as explained in Basic Bladesmithing (DVD), and, Basic Damascus (DVD). If you're interested in how Mosaic Damascus is produced, this is the DVD for you. Note: This video is for advanced knifemakers and shows methods using a forge and a hydraulic press.
Pianist Lennie Tristano was an early inspiration and a major influence on the playing of altoist Lee Konitz and tenor saxophonist Warne Marsh. Their very notable and highly original Capitol recordings of 1949 – with the quiet metronomic rhythm section, advanced melodic improvising, and reharmonizations – stood apart from the typical bop of the period. By 1955, when the earliest performances on this 1997 limited-edition, six-CD set were recorded, the trio was not working together very often; in fact, Tristano was mostly functioning as a teacher, only surfacing for occasional records and club dates.
A soul survivor in every sense of the term, this alto saxophonist is one of the few remaining jazz artists who made a major impact on the jazz community via an extensive run with producer Alfred Lion and the Blue Note label (Horace Silver being another Blue Note legend that comes to mind). From his first recordings for the label with Art Blakey's Jazz Messengers, it was clear that Lou Donaldson put melody and sound at a premium, coming up with an amalgam that combined the creamy smoothness of Johnny Hodges with the quicksilver bop inflections of Charlie Parker.
The recordings gathered in this package have been issued in a multitude of ways and are available in a number of configurations. The audiophile jazz label Mosaic Records issued The Complete Vogue Recordings/The Black Lion Sessions on vinyl initially, later releasing the title as a slightly expanded three-CD package. Chronologically, the earlier of the two sets consists of the Vogue recordings from June 7, 1954. The Black Lion sides are divided between a second batch of solo works as well as a trio session – featuring Al McKibbon (bass) and Art Blakey (drums) – both of which were cut on November 11, 1971.
The Complete CBS Buck Clayton Jam Sessions (extremely rare & limited 1993 US 32-track Mosaic audiophile 8-LP box set) is a superlative package contains all the jam session recordings for CBS, plus alternate takes and originals restored to their full length, with soloists including Joe Newman, Ruby Braff, Urbie Green, Coleman Hawkins, Woody Herman & more. Housed in a beautifully presented textured outer black box with front pasted picture cover, complete with an informative 20-page LP sized booklet, featuring stunning black & white session photographs and extensive liner notes).
The Thelonious Monk Quartet with Charlie Rouse lasted eleven years. October 31 and November 1, 1964 at the It Club in Los Angeles were just two more nights out of thousands for them, except when it comes to Monk, there were no ordinary nights. Rouse in his sixth year with Monk had hit his stride, truly becoming Monk's musical alter ego. Remarkably, drummer Ben Riley had joined the quartet at the beginning of 1964 and bassist Larry Gales had only logged in a month at the time of this taping; yet they already show the first signs of collective greatness on these evenings.
Gaps. We hate them. We admit it, we’re completists, and we can’t tolerate inaccurate personnel logs, song edits imposed on artists, or sessions split up over scattered LPs. We’re compelled to jump in and fix the errors and re-create mis-handled recording dates. Our Stan Getz Quintet box with Jimmy Raney – one of Mosaic’s earliest sets and out of print nearly 20 years – was an example of our efforts to clean-up an important body of music that over time had been re-issued haphazardly, and with substandard sound. More recently, when we learned that Getz’s Norgran Studio recordings were coming out on CD, we thought: - shouldn’t LP enthusiasts get the Clef/Norgran set in full, sumptuous Mosaic editions, on 180-gram audiophile LP?