Inglese, bandleader di un ensemble che richiama le grandi orchestre degli anni trenta e quaranta, Page è un anacronismo vivente.Infatti la sua visione musicale è ancorata ad un periodo determinato, quello a cavallo della seconda guerra mondiale. Spettacolare nei suoni, Page offre un deja vu di grande classe.
Tratto da una trasmissione radio dell'epoca, questo concerto, registrato al My Father's Place di Roslyn, stato di New York, è una gradita sorpresa. A parte l'incisione, ottima, il concerto ci cattura per il suono grezzo della band. Siamo agli inizi della carriera e gli Heartbreakers avevano già una forza ed un suono che li distingueva da gran parte delle band del'epoca. Tra le canzoni: American Girl, ovviamente, ma anche I Need to Know, Fooled Again, Breakdown, Route 66, Jaguar and Thunderbird ( Chuck Berry ), Surrender, Shout ( Isley Brothers) ed altre. Da tempo fuori catalogo. Copia non sigillata.
Volume 2: with Pete Jolly. Secondo volume di registrazioni caiforniane, con Rob Magnusson e Roy McCurdy. Contiene due tracce inedit. Ristampa rimasterizzata Omnivore 2017.
Live at the Village Vanguard, 26 Novembre 1988. Super quartetto cpmpletato da Buster Williams ed Al Foster. Resonance Records, bella edizione in digipack.
Incontro tra il pianista Bill Laurance ed il leader degli Snarky Puppy, Michael League. Un disco sicuramente molto interessante
Track 9 Bonus track not on original album but completes the session
con Dizzy Gillespie e Quincy Jones
Recorded at Clinton Studio "B" in New York on March 28 & 29, 1996.
Recorded at Systems Two, Brooklyn, NY on Mitsubishi X-800 32 Track, April 29, 1991.
Tracks 1-1 to 1-6 recorded at Jackson Studios, Rickmansworth, South West Hertfordshire, UK.
Tracks 1-7 to 2-2 recorded at R.G. Jones Studios, Wimbledon, London, on November 16 & 17, 1972.
Tracks 2-3 to 2-6 recorded at The Torrington, North Finchley, London, on December 12, 1970.
"Deep Dark Blue Centre" originally released in 1967 [Deram ?SML 1005] credited to The Graham Collier Septet.
"Portraits" originally released in 1973 [Saydisc ?SDL 244] credited to Graham Collier Music.
"The Alternate Mosaics" is another performance of "Mosaics" from the same evening as the version that was originally released in 1970 [Philips ?6308 051]. Previously unreleased.
According to Discogs:
"Mosaics" original LP was recorded at The Torrington, North Finchley, December 8th 1970 and released in 1971. Also it is credited to Graham Collier Music featuring Harry Beckett.
Phonographic copyright (p): The Decca Record Co. Ltd (tracks 1-1 to 1-6)
Phonographic copyright (p): Saydisc (tracks 1-7 to 2-2)
Phonographic copyright (p): Jazzcontinuum (tracks 2-3 to 2-6)
Recorded live to digital two-track on the night of December 22nd, 1990.
The songs are presented in the same sequence that they were performed.
The numbering on the rear cover excludes a track 9.
Recorded March-April 1936
All recorded in New York City except as indicated:
#1: July 7, 1936, Los Angeles
#2 & #3: July 27, 1936, Los Angeles
#4: March 3, 1937, Los Angeles
#5 & #6: March 16, 1938
#7: March 29, 1938
#8 to #10: April 29, 1938
#11: March 3, 1939
#12: April 30, 1940
#13: July 17, 1940
#14: December 9, 1940
#15 & #16: February 2, 1941
#17: August 1, 1941
#18: December 10, 1941
#19: June 2, 1942
#20: October 7, 1943, Los Angeles
Recorded December 10 & 12 1959. Recorded at the same session that produced "All the Gin Is Gone" (Delmark 404)
Recorded at Fine Sound, NYC: track 4 on April 12; tracks 1-3 and 5-8 on April 13, 1954.
Recorded Dec 7, 1976 in the Old Town jazz Club Stampen (The Pawnshop), Stockholm, Sweden.
© & ? 1990 & 1992, Proprius Musik AB, Stockholm, Sweden.
Recorded at The Shaw Theatre 13th/14th March 1987 using the Manor Mobile & The Mitsubishi X850-32tck Digital Multitrack.
Assisted at The Fallout Shelter, London.
Registrazioni dal vivo raccolte nel tempio dell'avanguardia newyorkese.
Registrato a Systems Two Studios, Brooklyn, NY nel settembre 2002.
Questa è una delle ultime sessioni di registrazione di Bob Berg, poiché è stato ucciso in un incidente stradale il 5 dicembre 2002.
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