Freddie Hubbard Mosaic

Freddie Hubbard - Super Blue (1978) {Mosaic Contemporary MSC5001 rel 2007}
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© 1978, 2007 Mosaic Records / Mosaic Contemporary / Sony BMG Music | MSC 5001 / A702943
Jazz / Post Bop / Jazz Funk / Soul Jazz / Groove / Trumpet

Freddie Hubbard's Super Blue, finally available on CD, is a minor classic—overlooked, perhaps, because it lies in the long shadow of the titan trumpeter's earlier output, or because it was recorded in the middle of a lackluster phase at Columbia. But Blue is a late-summer sleeper. Reassembling some of the best talent from his CTI dates—Joe Henderson (tenor), Hubert Laws (flute), Ron Carter (bass), Jack DeJohnette (drums) and George Benson (guitar), plus Kenny Barron (acoustic and electric keyboards), a jam-mate from Hubbard's groups of the later 1960s—the session proves that commercial accessibility can coexist with high artistic standards.

Quincy Jones - The Quincy Jones ABC/Mercury Big Band Jazz Sessions 1959-61 (2007) [5CD Set] {Mosaic Records}
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© 2007 Mosaic Records / Verve / UMG | B0010280-02 / MD5 - 237
Jazz / Bop / Big Band

Terrific, limited edition box set collecting all the recordings made by this one of a like group of superstar musicians including: Art Farmer, Phil Woods, Zoot Sims, Curtis Fuller, Phil Woods, Freddie Hubbard, Benny Golson, Art Blakey, and Hank Jones. The set includes 5 CDs covering all of his 1959-60 studio and 1961 live Mercury sessions, as well as an earlier set from 1956 for ABC-Paramount and a 1961 date for Impulse. Also includes an exhaustive essay by Brian Priestley and a complete discography, as well as many rare photographs by Chuck Stewart.

This is the one that started it: Mosaic, recorded in 1961, was the first recording of Art Blakey's Jazz Messengers as a sextet, a setting he kept from 1961-1964. The band's front line was trumpeter Freddie Hubbard, trombonist Curtis Fuller, and tenor saxophonist Wayne Shorter; Cedar Walton played piano and Jymie Merritt (a criminally underappreciated talent) was the bassist. Everything on this set was written by the musicians in the band. Walton wrote the burning title track; its blazing tempo and Eastern modes were uncharacteristic of the Jazz Messengers sound, but it swings like mad. Hubbard contributed two pieces to the album, the first of which is the groover "Down Under," with its blues gospel feel…

Hank Mobley - The Complete Hank Mobley Blue Note Sessions 1963-1970 (2019) {8CD Box Set, Mosaic MD8-268}
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© 1963-70, 2019 Blue Note / Mosaic Records / UMG | MD8-268
Jazz / Hard Bop / Saxophone

An amazing run of music – some of our favorite albums ever recorded for the Blue Note label, and the legendary second chapter of the career of tenor genius Hank Mobley! Hank was already a hell of a tenor player when he came on the scene in the 50s – graced with this deeply soulful style that helped usher in a whole new generation of talents on the instrument – but during his final years at Blue Note, he really took off with amazing new ideas, unusual rhythms, mindblowing arrangements, and the kind of compositional skill she never showed at the start!

Art Farmer - The Time And The Place/The Lost Concert (1966) {Mosaic Records MCD-1010 rel 2007}
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© 1966, 2007 Mosaic Records | MCD-1010 | Mosaic Singles Series
Jazz / Hard Bop / Bop / Flugelhorn

This CD, The Time and the Place, is not the album of the same name released on Columbia Records dated February 8, 1967, with pianist Cedar Walton. That recording was a studio date with live audience sounds overdubbed. This is the actual live concert date, remixed from the three-track reel-to-reel master at New York City's Museum of Modern Art's outdoor "Jazz in the Garden" series, featuring pianist Albert Dailey on August 18, 1966, and presented in its entirely. Farmer plays flugelhorn exclusively, one of the first to do so. This concert also links his time leaving the U.S. for Europe, returning briefly, then moving permanently to Vienna, Austria.

Sam Rivers - The Complete Blue Note Sam Rivers Sessions 1964-67 (1996) {3CD Box Set Mosaic MD3-167}
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© 1964-67, 1996 Blue Note / EMI-Capitol Music / Mosaic Records | MD3-167
Jazz / Post Bop / Avant-Garde Jazz / Saxophone

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.