ART PEPPER+PAUL CHAMBERS+PHILLY JOE JONES MEETS RHYTHM RARE ORIG'59 STEREO LP DG
$
162
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· ART PEPPER with PAUL CHAMBERS, PHILLY JOE JONES AND RED GARLAND – ART PEPPER MEETS THE RHYTHM SECTION - ORIGINAL 1959 STEREO RECORDS STEREO LP S-7018 (MONO VERSION OF THE ALBUM RELEASED IN 1957, STEREO VERSION FIRST RELEASED IN 1959)
· ORIGINAL U.S. PRESSING
· (PLEASE NOTE: “STEREO” RECORDS WAS ACTUALLY THE NAME OF THE RECORD LABEL, NOT JUST THE SOUND FORMAT OF THE RECORDING; NAMELY, “STEREO” LABEL WAS A SUBSIDIARY OF CONTEMPORARY RECORDS WHICH ONLY ISSUED STEREO VERSIONS OF THE ALBUMS ORIGINALLY AVAILABLE ON CONTEMPORARY LABEL ONLY IN MONO; BECAUSE OF OBVIOUS TRADEMARK AND SEMANTIC ISSUES, CONTEMPORARY LABEL QUICKLY EXTINGUISHED THEIR “STEREO” SUBSIDIARY AND, AROUND 1961/62 PROCEEDED TO RELEASE THEIR STEREO TITLES ON CONTEMPORARY LABEL PROPER
· DEEP GROOVE PRESSING
· ORIGINAL BLACK “STEREO” LABEL WITH GOLD PRINT (OTHERWISE IDENTICAL TO LATER CONTEMPORARY STEREO LABELS)
· THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. STEREO PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.
· THICK CARDBOARD COVER, AMERICAN STYLE.
· CLEAN, WEAR-FREE LABELS
· THICK, HEAVY VINYL PRESSING
· MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) ENDS WITH '-D2/D2'.
· MACHINE-STAMPED MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) OF THE RECORD
(►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)
(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you’ll get. GUARANTEED!)
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By the time of this, Art Pepper's tenth recording as a leader, he was making his individual voice on the alto saxophone leave the cozy confines of his heroes Charlie Parker and Lee Konitz. Joining the Miles Davis rhythm section of pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones made the transformation all that more illuminating. It's a classic east meets west, cool plus hot but never lukewarm combination that provides many bright moments for the quartet during this exceptional date from that great year in music, 1957. A bit of a flip, loosened but precise interpretation of the melody on "You'd Be So Nice to Come Home To" gets the ball rolling, followed by a "Bags Groove" parallel with "Red Pepper Blues," and a delicate, atypical treatment of "Imagination." A compositional collaboration of Pepper and Chambers on the quick "Waltz Me Blues" and hard-edged, running-as-fast-as-he-can take of "Straight Life" really sets the gears whirring. Philly Joe Jones is a great bop drummer, no doubt, one of the all-time greats with Kenny Clarke and Max Roach. His crisp Latin-to-swing pace for "Tin Tin Deo" deserves notice, masterful in its creation and seamlessness. Pepper makes a typical "Star Eyes" brighter, and he goes into a lower octave tone, more like a tenor, for "Birks Works" and the bonus track "The Man I Love." It's clear he has heard his share of Stan Getz in this era. Though Art Pepper played with many a potent trio, this one inspires him to the maximum, and certainly makes for one of his most substantive recordings after his initial incarcerations, and before his second major slip into the deep abyss of drug addiction.
(EXCERPT FROM AN ONLINE REVIEW BY MICHAEL G. NASTOS, ALL MUSIC GUIDE /ALLMUSIC.COM/)
For additional historical or discography information on this album, including track listing ►click here
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· CONDITION:
· RECORD
(IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we grade records under the strong, diffuse room light or discrete sunlight)
(a) WE GRADE THE VINYL AS STRONG VERY GOOD+(+) . CAUTION: The vinyl is NOT MINT or NEAR MINT, but is nevertheless in a very nice and clean condition. There are some surface marks and abrasions, mostly light and superficial, although some may be longer than 2 inches (1 inch = 2.5 centimeters)
(b) The record has a "deep groove" (an indent in the label about 1/2-inch from the edge of the label, which on SOME labels is associated with very early or first pressings).
(c) The record is apparently pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!
(d) Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!
· COVER
THE COVER IS ABOUT VERY GOOD+ (VG+)
The following flaws or imperfections are noted on the cover:
- Cover has some ring wear. On the scale from 1 to 10 (1 being the least, and 10 being the most severe), we assess the severity of ring wear as 5.
- Back cover has circular tarnish (grayish, dust-covered sections, which closely follow the contour of the record), probably caused by friction or by rubbing against other covers during the storage. The tarnish is similar in appearance to a common ring wear, but, UNLIKE ring wear, these grayish areas may be possible to clean up with a minor effort and with a right cleansing solution.
- Cover shows some light yellowing on back side, apparently from aging (nothing significant).
- Visible shelf wear noted on top and bottom seam s
- Cover has some fraying/wear along the spine
- Cover has a partially split spine (between 4 and 6 inches / 10 to 15 centimeters)
- Cover has two corners slightly worn / frayed / bent (just a beginning of the split seam)
- The cover has a few tiny scratch marks on the front side
- Cover has a small peel-off mark, probably from the careless removal of the price sticker (less than ¼ square inch in size).
NO OTHER IMPERFECTIONS ON THE COVER:
- No cut-out (drill) holes.
- No cut-out corners
- No saw-marks or indents
- No writing
- No stamps
- No stains
- No mold or mildew spots
- No stickers or labels
- No water damage
- No warping
- No wax, glue, paint or liquid drops on the cover
- No glue traces or wax residue.
- No bar codes
- No RIAA stamps or stickers.
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