Tell me more about what goes into the making of a set (research, leasing, producing, etc.), how difficult is it to obtain access to vaults and archives? What kind of condition is the material usually in?
Each individual project has its own depth of research. Take for example the information contained in our discographies for the Beiderbecke, Trumbauer, Teagarden (MD7-211), the Venuti-Lang (out of print) and the Bunny Berigan (also out of print) sets. For starters I usually compile a discography from both the latest editions of Brian Rust’s “Jazz Records” and Tom Lord’s “Jazz Discography”. In some cases other discographies offer a more definitive body of discographical research – like Richard Sudhalter’s “Bix: Man and Legend”; Ray Mitchell’s Eddie Lang discog “Feeling My Way” or the Dorsey Brothers books by Robert Stockdale – and so I incorporate those into the Mosaic rough draft. However for those three sets mentioned above, many of the discographies had contradictory opinions in regard to instrumentation and personnel. And since I wasn’t content on just my own individual ear to make a final decision before going to press, I contacted Dan Morgenstern at the Institute of Jazz Studies (IJS) to use one of their rooms as a gathering of musicians, scholars and record collectors who I felt had an in-depth knowledge and passion of the music and invited them to a round table discussion with musical examples. Some of those who have assisted in these panel discussions have been musician and writer Richard Sudhalter, Michael Brooks of Columbia later Sony, bandleader and saxophonist Loren Schoenberg, guitarists Mike Peters and Marty Grosz, Ed Berger, Vinnie Pelote and Dan Morgenstern of the IJS just to name a few. Having a collective agreement on these matters gave me the knowledge that this was truly a group effort in nailing down the correct information. Those who were not able to attend these forums (like the late Bozy White and the recently departed Jeff Healey) were in constant contact with me either via email, phone or snail mail.
Researching the music is also accomplished by inspecting the original file cards, ledgers, AFM contracts, periodicals as well as other research publications. Having a licensing agreement to re-release the music gives us the opportunity to visit the archives of Sony/BMG ( Columbia , Victor and their sister labels) as well as Universal Music (Decca, Verve, etc) and actually view these priceless “artifacts”. From these materials I have been able to ascertain correct instrumentation and personnel as well as confirming recording dates. Having access to this information also can give us any clues to any previously unissued sides before we order the discs or reels from the vault.
Another major source of research comes from the amazing archives held at the IJS housed over at Rutgers University in Newark . An extraordinary facility, which was initially begat from the collection of jazz writer and English professor Marshall Stearns, the IJS is home to countless recordings of all speeds, transcriptions, tapes, films, arrangements, personal letters, books on jazz, complete issues of Down Beat, Metronome and other jazz newspapers and magazines. A trip there usually means getting your questions answered but at the expense of being sidetracked since everywhere you turn, something grabs your attention and you’re unexpentantly immersed into a new subject ! Here’s an example of how resourceful the Institute is. In some cases I need to audibly compare an issued take to the original master disc or tape in order to confirm what is being released by us is the correct take. In our Complete Count Basie Clef / Verve Studio Sessions (MD8-229), the IJS’s copy of “New Basie Blues” on 45 and “No Name” on 78 yielded different takes that were missing from the vault. Both singles listed the commonly issued take when in actuality they were alternates.
Even Google searches help us with research. For the Louis Prima-Wingy Manone set (sold out), I was looking for information on Meyer Weinberg, the clarinetist in Prima’s 52nd Street band. One of the hits I received in my Google search was a site of the family tree of Sherman Massinter, the bassist in that same band. I emailed the contact person at the website who was the son of Sherman Massinter. I asked if he had any photos of his father with Prima and he said that he did. Through negotiations I was able to get clean, high res jpegs of the Prima band broadcasting live over CBS radio in 1937 that had never been published before.
I don’t have too much to add as to leasing except that as I mentioned earlier, with a lease from the parent label we’re able to obtain the cleanest source possible since we have access to the original metal parts, test pressings and session reels. This leads us to unissued tunes and alternate takes that many CD reissues lack.
When and if possible, do artists receive copies of their work?
I heard rumor that Grachan Moncur III was incredibly grateful to Mosaic for rereleasing his music.
When a set is released we usually send a copy out to them within a week or so. There’s no real time frame. And yes, many of the artists are grateful to have us re-issue their past glories. When we released the Classic Capitol Jazz Sessions, I had a call from Benny Carter saying how much he enjoyed the set and that finally all his Capitol big band sides where all in one place.
Why did Mosaic stop releasing vinyl?
We were faced with a number of dilemmas. One was obvious – with the advent of compact discs a hefty chunk of our customer base made the switch from LP to CD. Even when we issued both formats contemporaneously, (up to 1999) it was apparent that we would run ourselves out of business had we continued to manufacture LPs as well. So it was a diminishing demand plus the enormous cost in vinyl production, shipping, etc, that was at the heart of the problem. We also had space considerations. With our other company True Blue Music, shelf space was now needed for all the other products that we offer in that catalog. Plus we had some sets that just lingered on the shelves for years like the Eddie Condon CBS Sessions and the Stan Kenton Capitol Forties Sessions. We did, however, try our luck with the Miles Davis Columbia sessions (all are now sold out) on LP while Sony handled the CD side of those releases and did a fair amount of business on those and the single of the Monk-Coltrane at Carnegie Hall has sold pretty well. However, there seems to be a mini-revival of vinyl lately so who knows what might present itself to us in the future.
Who are your personal favorite jazz artists/what are some of your personal favorite jazz recordings? Why?
A tough one for sure. I would have to say Louis, Bix, Goodman, Django, Bird, Pres and Sinatra. I’m sure I’ve left some off. My favorite bands would be the Ellington 1940-2 band, the Miller civilian and Army Air Force Bands and both the Woody Herman First Herd and the Thundering Herd of the mid 60s which has been released as a Mosaic Select (MS-031).
Recordings are a little easier. I think Artie Shaw’s solo on “Star Dust” for Victor is one of the great jazz solos by anyone. It’s a thing of beauty – total command of the clarinet. The control in the upper register, his ideas that just flow from phrase to phrase, his approach to making melodies out of improvisations and even the way he touches upon the melody at times. It not just a bunch of notes thrown together which can be a bane for many post 78 era soloists.
As much as I love Coleman Hawkins “Body and Soul” there’s another “B&S” that deserves mentioning. Serge Chaloff’s Capitol recording from 1955. Serge knew he was dying and the emotion that pours out of his bari is nothing short of pure poetry that’s weaved with beauty and pain. A masterpiece right from the opening cadenza.
And speaking of Hawk, his 1945 Capitol release of “It’s The Talk Of The Town” is also a masterpiece. It builds in intensity right from the start. One of his best.
Those were some ballads – as for uptempo things I’ve always thought the Benny Goodman big band version on Basie’s “Jumpin’ At the Woodside” for Columbia in 1939 was a real knockout. Benny is just all over the instrument and the band just bursts during the final chorus with a complete turnaround in dynamics by the end of the record. Of the small band sides, I’ve always loved the Columbia session from ’42 with the Goodman Quartet on “The World Is Waiting For The Sunrise”. You can just see Benny smiling at 19 year old Mel Powell’s remarkable piano solo. BG is certainly inspired after hearing Mel’s work.
The Decca album “A Bob Crosby Showcase” includes a record that is credited as “Four Of The Bob Cats” with tenorman Eddie Miller, pianist Bob Zurke, bassist Bob Haggart and drummer Ray Bauduc. The tunes are “I Hear You Talkin’” and “Call Me A Taxi”. Both swing and especially “Taxi” which has a brilliant Zurke playing contrapuntally, Bauduc’s outstanding ideas and entire use of the kit (wood blocks and crash cymbal in particular) and Miller’s usual tasty tenor work.
Woody Herman’s Columbia sessions from 1944-6 are covered in a Mosaic box (MD7-223) and there’s any number of great sides included there that just scream. One of the most exciting bands ever, I could pick any from “Caldonia” to “Apple Honey” to “The Good Earth”; each having spirited solos by Flip Phillips, Bill Harris and the charging bass of Chubby Jackson and the unique-driving Dave Tough on drums.
There are also some hot Eddie Condon sessions for Decca in the mid ‘40s with Pee Wee Russell, Jack Teagarden, Bobby Hackett, Billy Butterfield, Peanuts Hucko, Ernie Caceres. Great stuff. One of my favorites is “Improvisation For The March of Time”.
I could go on for ever, but these are just some that come to my mind at the moment.
I enjoyed the interview very much.
I am a big Mosaic fan and have been buying the collections since the mid 80′s. At one point, I bought so many sets in one order that my wife could not lift the box of records to get it into the house (thought she was going to kill me!). It must be a fascinating job researching and putting together one of the Mosaic collections.
Thank you Chris and Scott for putting the interview together, it was extremely interesting for this reader.