BIG JOHN PATTON UNDERSTANDING RARE ORIGINAL '68 BLUE NOTE PROMO LP RVG VERY NICE

$

25

WE CURRENTLY HAVE   MORE THAN 600   LISTED ITEMS

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·       JOHN PATTON – UNDERSTANDING – ORIGINAL 1968 BLUE NOTE RECORDS STEREO LP BST-84306

·       ORIGINAL U.S. PRESSING

·       *** PROMOTIONAL COPY; THE RECORD HAS STOCK LABELS; HOWEVER, THE PROMOTIONAL STAMP ON THE COVER CLEARLY IDENTIFIES THE ITEM AS PROMOTIONAL ***

·       ORIGINAL WHITE AND BLUE 'BLUE NOTE' LABEL WITH 'A DIVISION OF LIBERTY RECORDS INSCRIPTION ON THE LABEL  (NOTE: THIS IS THE ORIGINAL PRESSING OF THIS TITLE, AND NOT A REISSUE)

·       The record has a ►Rudy Van Gelder’s name or  his initials (RVG) clearly stamped or hand-etched in the trail-off vinyl (dead wax)

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)

·       CLEAN, WEAR-FREE LABELS

·       THICK, HEAVY VINYL PRESSING

(►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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This was an unusual trio date, eventually the only one, in Patton’s solo discography; he who favored 4tets and 5tets, had been mentored by Lou Donaldson and usually counted with experienced  sidemen such as the habitué Grant Green on his sessions, either because he had fallen out of favor with producer Francis Wolf who decided to shrink the budget or because he simply felt it was time for a different experiment, this time around his two sidemen are the somewhat obscure tenor saxophonist and flutist Harold Alexander and drummer Hugh Walker.

After his previous Boogaloo, and this being the era when Soul-Jazz was at a commercial peak, the program doesn’t deviates much from that course; however, on a couple of occasions Alexander – not an exceptional player, more emotional than technical but whose muscled and rhythmic tenor melds perfectly with  Patton’s  warm organ waves-  feels the urge to aim for the stars and his screams, honks and shrieks during these brief  far-out excursions are susceptible of repelling the most sensible listeners; furthermore, and although Patton is a creative and emotional improviser when he goes lead and has to simultaneously keep the bass lines rolling, one may occasionally feel additional stimulus besides the solid and competent Walker’s time-keeping could had been benefic.

That said this is an effort that deserves all but being lambasted as “stay-away-from” work; filled with varied moods thanks to a track list which besides Alexander’s “Ding Dong” and Patton’s Afro tinged “Congo Chant” includes a reworking of “Alfie’s Theme” penned by Sonny Rollins for the homonymous titled motion picture and which features dynamic interplay between organ and drums, Isaac Hayes “Soul Man” and Sam Gary’s “Understanding”, plus an enthusiastic take on Kenny Burrell’s “Chittlins con Carne”, where Alexander switches to flute  and both he and Patton do all they can to keep the spirit of the piece alive and as piquantly flavoured as the original, this Funky grooves loaded  album makes a pretty entertaining listen and has, as far as I’m concerned, sufficient carburant to keep any averagely hardened costumer pleased.

 (EXCERPT FROM AN ANONYMOUS ONLINE REVIEW)

The PROMOTIONAL, RADIO STATION-, AUDITION OR DEMONSTRATION COPIES AND RELEASES (such as the one we have here) were often distributed among the radio stations before the record was released to the public, sometimes as much as four months ahead. These records are generally considered to be the "first among equals", which is to say the VERY FIRST generation and the VERY FIRST pressings of the particular title; a PROTOTYPE and the earliest known official pressing of the record.

For additional historical or discography information on this album, including track listing ►click here

TO SEE IF WE HAVE OTHER LISTED ITEMS BY THIS GROUP OR ARTIST ►  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 EXCELLENT. This is one of those albums that are somewhat difficult to grade. It is somewhere between VG++ and NEAR MINT, just a notch below NEAR MINT. A few light abrasions ARE visible, but they are extremely shallow, superficial  and only moderately visually distracting (nothing significant).For the most part, the vinyl looks impeccable without any MAJOR visual flaws or imperfections. Much of the original luster is intact, and the vinyl shines and sparkles almost like new.

(b)          The record is 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!

(c)           The record has a ►Rudy Van Gelder name, or  his initials (RVG) stamped or hand-etched in the trail-off vinyl (dead wax). On SOME  Jazz labels (Blue Note, Savoy, Regent, Prestige, Impulse, Verve…) this stamp signifies highly professional masterings either done by - or  personally authorized by - the legendary engineer himself.

(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:

-        A visible water stain affects about one quarter (bottom section) of the back panel  (VISIBLE ON BACK SIDE ONLY) ; there is no structural damage to the cover, and both cardboard base and paper slick are intact, however, the stain is visible and has caused some erosion in the firmness of the cover ,  visible yellowish discoloration, a few minor moldy stains and a slight warp in the affected area.

-         Cover has some light ring wear (nothing significant); 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 3

-         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).

-         Cover has a few tiny wrinkles along the seams

-         Cover has a light "wrinkle" (crease)  in one of the corners.

-         Visible shelf wear noted on the top and bottom seams.

-         Cover has one corner slightly worn / dinged (nothing significant)

NO OTHER IMPERFECTIONS ON THE COVER:

-        No split seams  (yet)

-        No cut-out (drill) holes.

-        No cut-out corners

-        No saw-marks or indents

-        No writing

-        No stamps

-        No stickers or labels

-        No razor marks, scratches, pressure marks, lines, streaks, or  cuts.

-        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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