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A Comprehensive Historical Release. Black & White Records Rescued from extinction – music you’ve likely never heard. At Mosaic, presenting music that’s been hard to find — or completely overlooked — is as exciting today as it was in 1983 when we assembled our very first package of Blue Note recordings featuring Thelonious Monk. Sometimes we unveil just a handful. Other times, dozens. So, can you imagine how exhilarated we are about an 11-CD set where nearly every track has been unavailable for nearly 75 years? Unearthing the music on our new collection, Classic Black & White Jazz Sessions, has been a dream for decades. Unlike most of our sets, the original masters of these sessions are not known to exist anymore. Confusion over who owned the copyrights and who owned physical recordings we could use as source material raised additional obstacles.

A Comprehensive Historical Release. Black & White Records Rescued from extinction – music you’ve likely never heard. At Mosaic, presenting music that’s been hard to find — or completely overlooked — is as exciting today as it was in 1983 when we assembled our very first package of Blue Note recordings featuring Thelonious Monk. Sometimes we unveil just a handful. Other times, dozens. So, can you imagine how exhilarated we are about an 11-CD set where nearly every track has been unavailable for nearly 75 years? Unearthing the music on our new collection, Classic Black & White Jazz Sessions, has been a dream for decades. Unlike most of our sets, the original masters of these sessions are not known to exist anymore. Confusion over who owned the copyrights and who owned physical recordings we could use as source material raised additional obstacles.

The Decade box chronicles the ten-year period after I moved to New York City in the mid-nineties. It's the decade where I caught air, to use a sports metaphor. I wrote more songs, made more albums and toured more than any period before or since. Maybe it was the excitement and energy of living in a new city–I'd always been in love with Manhattan and it was a "pinch me" period where I couldn't believe I was finally living here. I went out constantly, fully embraced the city and nightlife and sights and sounds and that excitement came out in the music. It was that thing that writers always dream about, that state where you can barely keep up with all the ideas you're having. I didn't have time for writer's block. I was just a stenographer to the muse that wouldn't leave me alone or let me slow down.

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