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Brookmeyer, Bob - Mosaic Select-Bob Brookmeyer CD Cover Art
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Mosaic Select-Bob Brookmeyer CD

 Bob Brookmeyer Discography of CDs


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Personnel: Bob Brookmeyer (valve trombone, piano); Bianca Miller (vocals); Freddie Green, Jim Hall, Jimmy Raney (guitar); Jimmy Giuffre (clarinet, tenor saxophone, baritone saxophone); Al Cohn (tenor saxophone, baritone saxophone); Paul Quinichette, Zoot Sims (tenor saxophone); Harry "Sweets" Edison (trumpet); Hank Jones , John "Buddy" Williams , Nat Pierce (piano); Frank Isola, Osie Johnson, Charlie Persip (drums).
Liner Note Authors: Michael Cuscuna; Nat Hentoff; Bob Brookmeyer.
Recording information: Coastal Studios, New York, NY (07/05/1954-12/27/1958); Nola Penthouse Studio, New York, NY (07/05/1954-12/27/1958); Olmsted Studios, New York, NY (07/05/1954-12/27/1958); Van Gelder Studios, Hackensack, NJ (07/05/1954-12/27/1958).
Photographer: Chuck Stewart.
Arrangers: Al Cohn; Bill Potts; Bob Brookmeyer.
The Bob Brookmeyer volume in the Mosaic Select series is one of the more enlightening issues in that it not only includes his little-known debut quartet sides for Pacific Jazz in 1954, featuring Red Mitchell, but more importantly, brings back into print his classic Traditionalism Revisited, Street Swingers, and Kansas City Revisited albums from 1957 and 1958. These sides in particular showcased Brookmeyer's fantastic compositional and arrangement skills even better than his work with Gerry Mulligan. Some of the players on these sessions include Jimmy Giuffre, Jim Hall, Ralph Pena, Jimmy Raney, Paul Quinichette, and Dave Bailey. Brookmeyer was a complete traditionalist, but an unusual harmonist. His charts extrapolated the essence and melodic purity of the earlier jazz material and read it into the advanced harmonic theories of the day on the West Coast, as well as brought it's "cool" ambience to the proceedings -- whether the tempo was up or down. In addition to this music, there are tracks that first saw the light of day on the Playboy Jazz All Stars compilation, and Brookmeyer's self-titled album on Crown. The Street Swingers disc, in particular, with its quintet setting putting Hall, Raney, and Brookmeyer on the frontline, is a masterpiece. Also from 1958 is the Stretching Out album originally issued on United Artists with Zoot Sims and Al Cohn, as well as Hank Jones, Charlie Persip, and Freddie Green on guitar. This is a smoking, wonderfully up-tempo session full of many colors and textures, and showcases Brookmeyer's charts at his developmental peak. In all, there are the four complete albums, some alternate takes, and compilation sides, making this essential for not only Brookmeyer fans, but West Coast jazz collectors as well. ~ Thom Jurek
Mosaic Select-Bob Brookmeyer Music


Detailed Mosaic Select-Bob Brookmeyer Music Information



Category Rock/Pop Albums, Jazz CDs, Box Sets
Label Mosaic Select
All Time Sales Rank   359527  
CD Universe Part number 6810282
Discs 3
Release Date Jun 27, 2006
Mono/Stereo Stereo
Additional Info Boxed Set
Mosaic Select-Bob Brookmeyer Review


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Personnel: Anna Lauvergnac (vocals); Johannes Enders, Andy Scherrer (tenor saxophone); Wolfgang Pusching (flute); Andy Bey, John Di Martino, Cluas Raible (piano); Peter Bernstein, Alegre Correa (guitar); Boris Kozlov, Georg Breinschmid (bass); Mario Gonzi (drums).
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In New York City, the cabaret laws enacted in 1926 during Prohibition strictly forbade the gathering of more than three musicians and forbade the use of brass or percussion instruments, except in those few nightclubs that were specially licensed and regulated by the city. The laws were believed by many to be in part instruments for preventing the congregation of black people, and the mixing of races. Jazz was held as a culprit, a source of moral decadence, and the cabaret laws afforded the city the means to zone jazz into virtual extinction. The laws persisted on the books until 1988 when they were overturned on the grounds that they violated the constitutional right to free speech, as famously argued by Paul Chevigny. In the aftermath, myriad small jazz clubs flourished in a renaissance of jazz in New York. Smalls was notable among them.Smalls, and its successor in the present day, Fat Cat, were the brainchildren of quixotic jazz-lover Mitch Borden, who wanted to build a club that would serve the needs of jazz musicians and enthusiasts. Artists of special merit were featured regularly, receiving the rare opportunity to develop their repertoires and styles to maturity. During the day, musicians would come to Smalls to rehearse, some even sleeping there when they couldn't find housing. Each night, music flowed until dawn -- and the price was right. As word spread, Smalls developed into the social hub of the NY jazz scene. A steady stream of musicians from around the world came to listen and to congregate in its fabled back room, which hosted long listening sessions, and a perpetual conversation about music and life. We who were involved with Smalls on a week-to-week basis formed a close-knit community, bearing witness to one-another's lives, loves, and sometimes deaths. ...
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