GENE AMMONS: BOSS TENOR, PRESTIGE DEEP GROOVE THIN EDGE, RVG IN MATRICES, MONO
$
28
Favourite Auctions
To save auctions to your favourites, please login
If you don't have an account, please register
Description
Celebrating Our 30th Anniversary
RECORD COLLECTORS!
See HOW WE GRADE LP's; learn record jargon (a vocabulary of sorts); so who IS the only journalist that matters?: Rainy Day Records & Crooked Finger Books (established 1981).
If we don’t earn your positive feedback and 5-star ratings across the board, please contact us so we can make things right.
YOUR SATISFACTION IS OUR FIRST PRIORITY!
From Prestige Records (PRLP 7180) this is BOSS TENOR by GENE AMMONS, an original mono pressing with deep groove & thin edge. Jacket seams intact and sturdy; corners show slight rubbing with a clean, one-inch split top seam at opening. Glossy front surface has no outstanding flaws or blemishes; back surface shows minor fading all corners with no outstanding blemishes. Original inner sleeve is present (see photos). Cover and inner sleeve about VG, maybe better.
The heavy wax visually grades about VG+ with a few buffs and hairline marks but no scratches; RVG appears in the matrix both sides. The vinyl retains much of its original lustre. Play-grades about VG mostly with long passages of NEAR MINT. Constant background noise is hardly audible with a few clicks and soft pops but neither the surface noise nor the clicks/pops intrude into the music. Here's the kicker -- there's no distortion even at higher volumes and even in the more intense passages. It plays beautifully with Ammons' lean sax mixed up front and in your face -- the sax is full and rich with not one trace of distortion. The sax more than drowns out any extraneous noise.
The master of understatement, Ammons embodies hard bop with his sudden staccato flurries followed by long measures of silence. His sax is sometimes slow and breathy but never boring. Though not a perfect record, you're never distracted from the music. This is one you'll play again and again. Recorded at the Rudy Van Gelder Studio, Englewood Cliffs, NJ, June 16, 1960.
Personnel & Instrumentation:
- Gene Ammons -- tenor
- Tommy Flanagan -- piano
- Doug Watkins -- bass
- Art Taylor -- drums
- Ray Barretto -- conga
- Close Your Eyes
- Stompin' At The Savoy
- Blue Ammons
- Confirmation
- Hittin' The Jug
- Canadian Sunset
- My Romance
In the early 1940s bebop performers helped to shift jazz from danceable popular music towards a more challenging "musician's music". Differing greatly from swing, early bebop divorced itself from dance music, establishing itself more as an art form but lessening its potential popular and commercial value. Since bebop was meant to be listened to, not danced to, it used faster tempos. Beboppers introduced new forms of chromaticism and dissonance into jazz; the dissonant tritone (or "flatted fifth") interval became the most important interval of bebop and players engaged in a more abstracted form of chord-based improvisation which used "passing" chords, substitute chords, and altered chords. The style of drumming shifted as well to a more elusive and explosive style, in which the ride cymbal was used to keep time, while the snare and bass drum were used for accents. These divergences from the jazz mainstream of the time initially met with a divided, sometimes hostile response among fans and fellow musicians, especially established swing players, who bristled at the new harmonic sounds. To hostile critics, bebop seemed to be filled with "racing, nervous phrases". Despite the initial friction, by the 1950s bebop had become an accepted part of the jazz vocabulary. The most influential bebop musicians included saxophonist Charlie Parker, pianists Bud Powell and Thelonious Monk, trumpeters Dizzy Gillespie and Clifford Brown, and drummer Max Roach.
INTERNATIONAL CUSTOMERS PLEASE NOTE: We have an $8.00 handling fee which covers a portion of packing materials as well as time spent with Customs paperwork. We use top-of-the-line packing because your box is traveling a great distance and we want it to arrive intact and undamaged; in addition, Customs paperwork is time consuming. Please be aware this is one fee per order, that is, if you buy one record it’s $8.00, if you purchase 100 records it’s still just $8.00. We could use cheaper materials and most sellers do but it’s important to us that you get the record in the same condition as it is when it leaves our hands. Some say we lose sales because of this fee. However, if you read our international feedback you find very happy customers -- customers who feel the extra dollars are well spent and come back to buy records from us again! We appreciate your business and thank you for understanding.
price rating
