Michael Cuscuna RIP at 75

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  • BLUESNIK'S REVOX
    Full Member
    • Dec 2010
    • 4313

    Michael Cuscuna RIP at 75

    News breaking
    Michael Cuscuna, Jazz Producer, Record Label Founder, Blue Note Discogropher Dies at 75

    MOSAIC CO-FOUNDER SET THE STANDARD FOR JAZZ REISSUE COMPILATIONS


    Sad to report that record producer, Mosaic Records co-founder, reissue supervisor and Blue Note discographer/historian Cuscuna passed away yesterday. He was 75 and had been fighting cancer for a number of years. Until very recently he was doing well.

    Cuscuna began his storied music career in the late '60s as a disc jockey and music journalist, writing for Down Beat and Jazz and Pop magazines. He moved on to producing records in the mid 1970s for Capitol, Arista, Atlantic, Motown and of course later on Blue Note. He won three Grammys including "Best Historical Album Producer" in 1993 and 2002.

    In 1983 he co-founded Mosaic Records with his business partner Charlie Lourie. His access to Blue Note, Roulette and other labels helped produce a series of "completists" box sets from artists that included Count Basie, Thelonious Monk, Bill Evans and of course Miles Davis, along with other, lesser known jazz artists that set the standard for reissue box sets.

    He was a key player in the 1980s Blue Note revival during which he focused on releasing previously unissued records in the Blue Note and other label catalogs and he supervised the release of more than 100 reissued albums..."

    Amazing life and contributions. What also stuck me was he had Yusef Lateef play at his wedding!

    RIP
  • Serial_Apologist
    Full Member
    • Dec 2010
    • 37812

    #2


    I wouldn't be without my Mosaics.

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    • Jazzrook
      Full Member
      • Mar 2011
      • 3108

      #3
      Michael Cuscuna on producing reissues.
      He made a massive contribution to finding and releasing great jazz recordings.

      Mingus on Mosaic: https://amzn.to/2JbblJYWoody Shaw on Mosaic: https://amzn.to/2PMMqyBMichael Cuscuna (born September 20, 1948, In Stamford, Connecticut) i...


      JR

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      • BLUESNIK'S REVOX
        Full Member
        • Dec 2010
        • 4313

        #4
        Well...



        Blue Note Records
        @bluenoterecords
        ·
        1h
        Alfred Lion was born on this day April 21, 1908 in Berlin. As a teenager he fell in love with jazz and eventually followed his passion to New York City where he founded Blue Note Records: The Finest In Jazz Since 1939​

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        • Tenor Freak
          Full Member
          • Dec 2010
          • 1061

          #5
          Yes, sad news: RIP. Someone who really cared for the music and found creative ways to release all those sessions that remained in the can because Al and Frank recorded so much. Mosaic even released the complete archive of Dean Benedetti's wire-recordings of Bird solos. That takes dedication.
          all words are trains for moving past what really has no name

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          • BLUESNIK'S REVOX
            Full Member
            • Dec 2010
            • 4313

            #7
            The Jazz video guys tribute clips of Cuscuna talking about the process of reissue and the challenges. I like his comment about those who demand that everything is issued however bad, substandard & reputationally damaging as it's their absolute right to hear it as "serious collectors".I've come across these. Cuscuna calls them "tasteless zealots"

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            • elmo
              Full Member
              • Nov 2010
              • 546

              #8
              Sad loss - I first encountered his name when he issued those series of double albums with brown covers in the 1970's, a lot of it either very rare or previously unissued music. I remember phoning Ray's Records and blowing all the cash I had to get Sonny Rollins complete Village Vanguard, and the complete Herbie Nichols which was pretty impossible to get until that double came out. That whole series released a lot of wonderful music - eternally grateful

              RIP

              elmo

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              • Serial_Apologist
                Full Member
                • Dec 2010
                • 37812

                #9
                Now this death might provide an appropriate pretext for dedicating an edition of JRR to some of Cuscuna's releases. I can't see it happening anywhere else in today's Radio 3 jazz schedulings.

                Comment

                • Jazzrook
                  Full Member
                  • Mar 2011
                  • 3108

                  #10
                  Originally posted by Serial_Apologist View Post
                  Now this death might provide an appropriate pretext for dedicating an edition of JRR to some of Cuscuna's releases. I can't see it happening anywhere else in today's Radio 3 jazz schedulings.
                  Good idea, S_A.
                  JRR is the only jazz programme I listen to on Radio 3 now.

                  The great jazz artists from Louis Armstrong to John Coltrane. Critically acclaimed writing from over 150 limited edition jazz sets & more...


                  JR
                  Last edited by Jazzrook; 22-04-24, 08:03.

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                  • BLUESNIK'S REVOX
                    Full Member
                    • Dec 2010
                    • 4313

                    #11

                    “By age 14, I was going to Birdland, which had a peanut gallery. That’s when I heard Blakey and the Messengers, the Coltrane Quartet and Miles. They became my passion and still are. ​​​​​​

                    It’s the stuff that gets to you between about 12 and 25 that stays with you for life. You never absorb music in quite the same way after that.”

                    Amen to that last paragraph.​

                    Comment

                    • Serial_Apologist
                      Full Member
                      • Dec 2010
                      • 37812

                      #12
                      Originally posted by BLUESNIK'S REVOX View Post
                      “By age 14, I was going to Birdland, which had a peanut gallery. That’s when I heard Blakey and the Messengers, the Coltrane Quartet and Miles. They became my passion and still are. ​​​​​​

                      It’s the stuff that gets to you between about 12 and 25 that stays with you for life. You never absorb music in quite the same way after that.”

                      Amen to that last paragraph.​
                      There's a lot to be said for that view, which hadn't occurred to me till now. Almost a subject for a separate thread!

                      Comment

                      • BLUESNIK'S REVOX
                        Full Member
                        • Dec 2010
                        • 4313

                        #13
                        That would cover me from Fats Domino at 12 or 13, my brother brought two albums home from the States, saxophones! And on to the Avant Garde end of the 60s. The thing beyond that for me is classical music which didn't really kick in until my 30s.

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                        • Serial_Apologist
                          Full Member
                          • Dec 2010
                          • 37812

                          #14
                          Originally posted by BLUESNIK'S REVOX View Post
                          That would cover me from Fats Domino at 12 or 13, my brother brought two albums home from the States, saxophones! And on to the Avant Garde end of the 60s. The thing beyond that for me is classical music which didn't really kick in until my 30s.
                          Making a whacking great assumption I think we are more-or-less in the same age range, for which cultural factors played a part (well certainly for me) in deciding one's musical loyalties. When I fell out with my best school mate, a strict Traddie a year older then me, after first hearing Dizzy, Bird and Monk in around 1962, it was helped to consolidate by my respect for the then-Mod dress codes and general bearing associated with "modern jazz". Many years later a long haired bearded leftie like I had become, a fellow follower, expressed his view about the Mods vs Rockers phenomenon in terms of the Mods as representing the more "progressive" side of postwar education, working class kids being less shunted into manual work than had up to that time been true for those slightly older than ourselves, when there had existed a lot of resentment towards "clever" children earmarked for grammar school by those "left behind". The latter would be more likely to hang on to old reactionary cultural notions encapsulated symbolically in Trad than those potentially moving up the employment tree. But watching Betjamen's "Metroland" again is instructive! - many of my contemporaries who gravitated towards the Folk Revival were middle class drop-outs from cosy bourgeois suburbia, and one could take or have taken a more "fundamentalist" line on which attitude was the less incorrect. By my reckoning most if not all the early 60s free jazz practising intake - the Trevor Wattses, John Stevenses John Surmans, p'raps not the Westbrooks - were, like the Ronnie generation, working class. In retrospect, its ironic finding myself defending the present-day continuation of jazz, effectively as an alternative form of musical career to orchestral playing or academia, and compare what we all (notwithstanding nuanced differences here among ourselves) judge to be exemplary in and about the music; the shaping context for jazz in the meantime has so drastically changed.

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                          • Tenor Freak
                            Full Member
                            • Dec 2010
                            • 1061

                            #15
                            It seems that the Golden Age for jazz, much like that for Science Fiction, is 12.
                            all words are trains for moving past what really has no name

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