This CD compilation presents, on 8 discs, 17 recording sessions made between 1951 and late 1956 by the extraordinary trumpeter, leader, composer, and perpetual catalyst–Miles Davis. Featured in this collection are such major artists as Charlie Parker, Thelonious Monk, Charles Mingus, Sonny Rollins, Lee Konitz, and the original Davis Quintet: John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. The expanse of Miles Davis's recordings for Prestige Records, the California analogue to New York's Blue Note, is huge. In terms of artistic development, the eight CDs in this box span Davis's development from tentative searching through the full bloom of his first great quintet, whose frontline boasted Davis and a young John Coltrane.
During the 17th Century bands of hatamoto, samurai vassals of the Tokugawa shogunate, were causing havoc in the new capital city of Edo. Opposing them was Banzui-in Chobei,whose sole aim was to save Edo from the hatamoto as their violent behavior threatened to pull apart the very fabric of society.
Count Basie was among the most important bandleaders of the swing era. With the exception of a brief period in the early '50s, he led a big band from 1935 until his death almost 50 years later, and the band continued to perform after he died…
This fascinating date features pianist Ahmad Jamal at the beginning of his recording career. With guitarist Ray Crawford and either Eddie Calhoun or Israel Crosby on bass, Jamal showcases a style that would be a major influence on Miles Davis' music. Jamal's use of space and dynamics was very different than the style of any other jazz pianist of the era. His versions of "Old Devil Moon," "Will You Still Be Mine?," "The Surrey with the Fringe on Top," and "A Gal in Calico" inspired Miles to record the songs in a similar fashion, and his "Billy Boy" became the basis of a performance by the Red Garland Trio. Most fascinating is Jamal's inventive interpretation of "Pavanne," for it has a section very reminiscent of "So What" (which was not "composed" by Davis until over two years later) and a melody statement that is exactly the same as John Coltrane's "Impressions."
When Detroiter David Usher and Dizzy Gillespie founded the Dee Gee record label, they might have had an inkling that their project could, and would, fail financially due to poor distribution, the conversion from 78s to LPs, and the heavy hammer of the taxman. They might have felt, but could not have imagined, that they would create some of the most essential and pivotal jazz recordings for all time, not to mention some of the last great sides of the pioneering bebop era. Gillespie's large ensembles brought to public attention the fledgling young alto and tenor saxophonist John Coltrane, such Detroiters as guitarist Kenny Burrell or pianist/vibraphonist Milt Jackson, and vocalists Joe Carroll, Freddy Strong and Melvin Moore. Considering the years – 1951 and 1952 – this was revolutionary breakthrough music from a technical and entertainment aspect, delightful music that has stood the test of time and displays the trumpeter in his prime as a bandleader.
Tal Farlow, was an innovative self-taught jazz guitarist who influenced generations of guitarists following in his footsteps. Although some of his peak years as a recording artist occurred during his association with Verve between 1954 and 1959, relatively few of the tracks were available for decades until the release of this comprehensive Mosaic box set. The music is consistently brilliant, as the leader's solos seem to evolve effortlessly, often finding fresh ground in the many standards and classic jazz compositions performed in this set. Aside from the three opening tracks from Farlow's days as a member of vibraphonist Red Norvo's trio, the guitarist is the leader.