Teddy Wilson Mosaic

Teddy Wilson - The Complete Verve Recordings Of The Teddy Wilson Trio (1997) {5CD Box Set, Mosaic MD5-173 rec 1952-1957}

Teddy Wilson - The Complete Verve Recordings Of The Teddy Wilson Trio (1997) {5CD Box Set, Mosaic MD5-173 rec 1952-1957}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.23 Gb | MP3 @320 -> 799 Mb
Full Artwork @ 300 dpi (jpg) -> 31 Mb | 5% repair rar
© 1952-57, 1997 Verve / Mosaic Records / PolyGram | MD5-173
Jazz / Mainstream Jazz / Swing / Piano

Limited Edition of 7500. Includes a 20-page booklet. By 1952, Teddy Wilson's flawless swing style had already been fully formed for at least 17 years, and it would not change at all during the remaining three decades of his life. Wilson's performances were predictably excellent, but predictable nonetheless. This limited-edition five-CD set has all of the pianist's Verve trio recordings, which includes six-and-a-half former LPs (the half was an appearance at the 1957 Newport Jazz Festival), a set only released previously in Japan, and a live date that had never come out before.
Various Artists - The Complete Master Jazz Piano Series (1992) {4CD Box Set Mosaic MD4-140 rec 1969-74}

Various Artists - The Complete Master Jazz Piano Series (1992) {4CD Box Set Mosaic MD4-140 rec 1969-74}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.12 Gb | MP3 @320 -> 614 Mb
Full Artwork @ 300 dpi (jpg) -> 29 Mb | 5% repair rar
© 1969-74, 1992 Mosaic Records | MD4-140
Jazz / Bop / Stride / Swing / Piano

During a five-year period the Master Jazz label recorded 11 swing-based pianists in solo settings. Although the label went under later in the decade, the recordings were treasured by collectors. Mosaic, on this four-CD set, brought back all of the music from the original five-volume Master Jazz Piano series, adding two unissued selections and a full album released separately of Ram Ramirez's playing. In addition to Ramirez (who is heard on 13 numbers), there are 13 performances by Earl Hines, four apiece from Claude Hopkins, Cliff Jackson, Keith Dunham, Sonny White, Teddy Wilson, Cliff Smalls and the obscure Gloria Hearn, eight by Jay McShann and two from Sir Charles Thompson. Most of these pianists (other than Hines and Wilson) rarely recorded during this period in their careers, making this box very important both musically and historically.
Chu Berry - Classic Chu Berry Columbia and Victor Sessions (2007) {7CD Set Mosaic MD7-236 rec 1933-1941}

Chu Berry - Classic Chu Berry Columbia and Victor Sessions (2007) {7CD Set Mosaic MD7-236 rec 1933-1941}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.18 Gb | MP3 @320 -> 1.16 Gb
Artwork @ 300 dpi (png) -> 75 Mb | 5% repair rar
© 1933-41, 2007 Columbia / Victor / Sony BMG / Mosaic Records / BMG | MD7-236
Jazz / Swing / Tenor Saxophone

This is a comprehensive collection with countless pivotal sessions. It features 203 separate recordings on seven CDs and collects both the sessions led by Chu Berry and other sessions where he contributed significantly as a sideman. You can study his remarkable surefootedness as a soloist; remember an era where evolution in the music was running rampant and Chu Berry's tenor saxophone was one of the things making it run.
Various Artists - Boogie Woogie and Blues Piano (1935-1941) {3CD Set, Mosaic Select MS-030 rel 2008}

Various Artists - Boogie Woogie and Blues Piano (1935-1941) {3CD Set, Mosaic Select MS-030 rel 2008}
EAC rip (secure mode) | FLAC (image)+CUE+LOG -> 627 Mb | MP3 @320 -> 477 Mb
Full Artwork @ 300 dpi (jpg) -> 18 Mb | 5% repair rar
© 1935-41, 2008 Mosaic Records / Sony BMG | MS-030
Jazz / Blues / Jazz Blues

While most Mosaic limited-edition boxed sets concentrate on recordings by an individual bandleader or a single record label, Boogie Woogie and Blues Piano features sessions by a number of different artists from several labels active in the 1930s and early '40s, when boogie-woogie was very popular. Fifteen different pianists are featured (if one counts Lionel Hampton playing two fingered-duo piano in a band setting), though it is the giants of the genre, Meade "Lux" Lewis, Pete Johnson, Albert Ammons, and Jimmy Yancey who are given the most exposure.
Lionel Hampton - The Complete Lionel Hampton Victor Sessions 1937-1941 (2007) {5CD Set Mosaic MD5-238}

Lionel Hampton - The Complete Lionel Hampton Victor Sessions 1937-1941 (2007) {5CD Set Mosaic MD5-238}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.06 Gb | MP3 @320 -> 768 Mb
Full Artwork @ 300 dpi (png) -> 219 Mb | 5% repair rar
© 1937-41, 2007 Mosaic Records / BMG | MD5-238
Jazz / Swing / Vibes

Garnished with a fistful of alternate takes, the 2007 release of Mosaic's 107-track Complete Lionel Hampton Victor Sessions 1937-1941 is a welcome and long overdue CD realization of The Complete Lionel Hampton 1937-1941, a six-LP box set released during the 1970s by the Bluebird label. Only Teddy Wilson came close to achieving what Hamp did in the late 1930s and early '40s, by bringing together the greatest soloists on the scene for a staggeringly productive and inspired series of recordings that essentially defined the state of jazz during the years immediately preceding the Second World War.

Boogie Woogie And Blues Piano (Mosaic Select 3 Cds)  Music

Posted by Garina at Dec. 2, 2008
Boogie Woogie And Blues Piano (Mosaic Select 3 Cds)

Boogie Woogie And Blues Piano (Mosaic Select 3 Cds)
1935 - 1941
FLAC & MP3@320 | Label: Mosaic | CD 2008
Disc 1: 193,5 Mb & 102 Mb
Disc 2: 226 Mb & 126 Mb
Disc 3: 178,6 Mb & 119 Mb
Edmond Hall, James P. Johnson, Sidney De Paris, Vic Dickenson - The Complete Blue Note Sessions (1985) {4CD Mosaic rec 1941-52}

Edmond Hall, James P. Johnson, Sidney De Paris, Vic Dickenson - The Complete Blue Note Sessions (1985) {4CD Mosaic rec 1941-52}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 883 Mb | MP3 @320 -> 628 Mb
Full Artwork @ 300 dpi (jpg) -> 186 Mb | 5% repair rar
© 1941-52, 1985 Mosaic Records / Blue Note | MD4-109
Jazz / Early Jazz / New Orleans Jazz / Swing / Dixieland / Stride

To say that this limited-edition six-LP Mosaic box is overflowing with classics is an understatement. Included are a variety of small-group sessions (with overlapping personnel) from the early days of Blue Note. The Edmond Hall Celeste Quartet has five songs that are the only existing examples of Charlie Christian playing acoustic guitar; clarinetist Hall, Meade Lux Lewis (on celeste), and bassist Israel Crosby complete the unique group. The king of stride piano, James P. Johnson, is heard on eight solos; other combos are led by Johnson, Hall (who heads four groups in all), trumpeter Sidney DeParis, and trombonist Vic Dickenson (heard in a 1952 quartet with organist Bill Doggett).
The Complete Clef / Mercury Studio Recordings Of The Oscar Peterson Trio (1951-53) [2008, 7CD Box Set, Mosaic Records] Restored

The Complete Clef / Mercury Studio Recordings Of The Oscar Peterson Trio (1951-53)
Jazz/Mainstream Jazz | EAC Rip | Flac(Image) + Cue + Log & M4A(Tracks) & MP3 CBR 320Kbps
Artwork -> 140 Mb | Mosaic Records | ~1556 or 1651 or 1099 Mb

Oscar Peterson appeared on hundreds of recordings produced by Norman Granz, though most of his early trio dates for Mercury and Clef were overlooked for CD reissue until the release of this thorough seven-disc compilation by Mosaic in 2008. It still represents only a portion of the pianist's considerable output for the two labels between 1951 and 1953. This collection was put together as a result of laborious detective work, assembling nine different sessions from tape masters and second generation reels, 78s, EPs and LPs, some of which came from collectors and libraries, while also including eight previously unissued performances…
VA - The Columbia Jazz Piano Moods Sessions (Remastered) (2000)

VA - The Columbia Jazz Piano Moods Sessions (Remastered) (2000)
EAC Rip | FLAC (tracks, cue, log, scans) - 1.2 GB | MP3 CBR 320 kbps - 897 MB
6:29:55 | Jazz, Swing, Bop | Label: Mosaic Records

This seven-CD collection exhaustively documents Columbia Records' first attempt at niche marketing with the Piano Moods series. Born out an impromptu marketing plan by a small Columbia Records staff in 1950, the Piano Moods series was hatched from the marketing discovery that there were more pianos than phonographs (that's record players for all you kids who don't remember vinyl LPs) in the homes of postwar America. The 12" LP had been launched a scant two years before and few titles were available. The Piano Moods series linked 20 albums of the same general type, all of them produced and sequenced by George Avakian, who had created the jazz and pop catalog on LP for Columbia beginning in 1948 – though they were originally released 33 rpm 10" discs to keep the folks with all those 10" 78 rpm discs happy when it came to storage. The sides were cut – usually – with no spirals (spaces) between tunes, giving the side a longer feel than its 17 minutes because the music was continuous. Most pianists preset their sequences and prepared introductions of the key of the preceding tune that modulated into the key of the next one.
VA - The Columbia Jazz Piano Moods Sessions (Remastered) (2000)

VA - The Columbia Jazz Piano Moods Sessions (Remastered) (2000)
EAC Rip | FLAC (tracks, cue, log, scans) - 1.2 GB | MP3 CBR 320 kbps - 897 MB
6:29:55 | Jazz, Swing, Bop | Label: Mosaic Records

This seven-CD collection exhaustively documents Columbia Records' first attempt at niche marketing with the Piano Moods series. Born out an impromptu marketing plan by a small Columbia Records staff in 1950, the Piano Moods series was hatched from the marketing discovery that there were more pianos than phonographs (that's record players for all you kids who don't remember vinyl LPs) in the homes of postwar America. The 12" LP had been launched a scant two years before and few titles were available. The Piano Moods series linked 20 albums of the same general type, all of them produced and sequenced by George Avakian, who had created the jazz and pop catalog on LP for Columbia beginning in 1948 – though they were originally released 33 rpm 10" discs to keep the folks with all those 10" 78 rpm discs happy when it came to storage. The sides were cut – usually – with no spirals (spaces) between tunes, giving the side a longer feel than its 17 minutes because the music was continuous. Most pianists preset their sequences and prepared introductions of the key of the preceding tune that modulated into the key of the next one.