GERSHWIN Rhapsody Blue Kostelanetz SIGNED Izzy Friedman

$

25

GEORGE GERSHWIN's "Rhapsody In Blue", Andre Kostelanetz and His Orchestra, Featuring Alec Templeton. 
SIGNED by Izzy Friedman.  (2) x 12" 78 RPM; Columbia Records Set No. X-196.

Both records EXCELLENT+ Condition: no chips, cracks or scratches; a few very light scuffs (very few), and some finger smudges, that's it!  Jacket is Very Good to Excellent, very strong all around, spine and all seams very clean and free of any rips or damage.  Some light edge and corner wear.  We ship Worldwide, important information below.

Autographed on inside by Clarinetist/Saxophonist Irving "Izzy" Friedman.  During the Golden Age of Big Band Jazz and Swing/Dance Music, Izzy Friedman played with Paul Whiteman And His Orchestra, Bix Beiderbecke And His Gang, Frankie Trumbauer, Hoagy Carmichael and a host of other popular bands.  Paul Whiteman greatly enriched American music by commissioning a young George Gershwin to write Rhapsody in Blue, which became his orchestra's signature tune.

Irving Friedman shows up on plenty of album jackets as Izzy Friedman.  His lyrical phrases show up on many classic jazz and vocal recordings from the '30s and '40s.  Friedman went on to become a leading figure in the development of studio recording orchestras.  After a short stint in Chicago, involving some study with a clarinetist from the Chicago Symphony, as well as a house musician job at the Moulin Rouge Club, Friedman moved on to New York City by the end of 1924.  In this period he kept busy with a combination of composition and conducting studies and gigs.  His position in the reed section of the Vincent Lopez orchestra was steady through the hottest days of 1926, then he was freelancing and doing recording sessions until joining Paul Whiteman in 1928. 

Listeners investigating jazz icons from this period such as Bix Beiderbecke or Frankie Trumbauer will eventually stumble across Friedman in one band or the other.  He has a part in the Whiteman film entitled "King of Jazz", a job that gave him a taste for Hollywood.  Friedman wound up hanging around, eventually organizing one of the very first permanent studio orchestras to be assembled by Warner Brothers.  Beginning in 1934, Friedman was the assistant head of the music department of that studio, picking and choosing his own playing and conducting assignments.  He kept that job until 1943, then simply began working in the same capacity for another studio, falling under the spell of the MGM Lion.  Three years later he moved over to Eagle-Lion studios.  Friedman began his own company, Primrose in 1950, providing both music and sound effects for many films and television programs.  One of his best-known compositions from this era is the theme to the series Father Knows Best.  He retired in Beverly Hills after selling his Primrose business in 1963.

All Records are Visually Graded Only.  VISUAL GRADING of records is determined as follows.  MINT CONDITION (M):  No visible scratches, scuffs, flaws, defects, marks or other indications of being handled or played. (Any scuffs, hairline scratches or other marks disqualify discs from this category).  No scuffs or scratches.  NEAR MINT (NM):  Vinyl is virtually flawless, bright and shiny.  1-4 very minor, barely visible scuffs (such as from brushing of a fingernail or contact with the inner sleeve) may be permitted, but no scratches.  The disc should play with no audible noise. The label is bright, clean and unmarked.  EXCELLENT (EXC):  May have minor surface scuffs and possibly a hairline scratch or two; nothing that is obvious or would be expected to affect play. Vinyl is bright and shiny, label is clean and unmarked.  VERY GOOD CONDITION (VGC):  Some visible surface wear, such as very minor scratches or scuffs. Vinyl will still have good luster; labels may have minor imperfections (small labels or initials, etc.) but otherwise clean.  GOOD (G):  Vinyl will have noticeable scratches or scuffs that would likely cause minor surface noise, but do not overpower the music. There will be no skips. Vinyl may appear somewhat dull and grayish. Labels may have small tears, tape marks, larger writing, etc. but still easily legible. There may be minor wear or deformation of the spindle hole.  FAIR (F):  Well-played, dull, grayish vinyl with deeper scratches and wear causing distracting surface noise (hisses, pops, cracks, etc.).  The record will still play through without any skips. Labels may be significantly defaced or damaged.

ALBUM COVER GRADES:  MINT (M): Absolutely perfect; no corner dings, marks, tears, dents, impressions from the disc, or other flaws. Cover should appear as if a record has never been inside.  NEAR MINT (NM):  Very minor signs of wear or cover impressions. Artwork is as close to perfection as possible.  EXCELLENT (EXC):  Minor disc impression or slight corner creases, no wrinkles, puckers, seam splits or writing on the cover. Artwork is clean and unworn and there is no ink wear.  VERY GOOD CONDITION (VGC):  Cover is clean but may have minor writing or marks and may show slight wear. There may be just the start of ring wear, where the disc has created a raised area on the cover that resulted in the ink wearing off the paper. There may be slight discoloration or staining, minor seam wear, but no splits or tears. Corners may have small creases or fraying.  GOOD (G):  Covers are worn and used. Seams may be starting to split or may have been unobtrusively repaired with clear tape. There is moderate ringwear, but the artwork is still attractive. There may be yellowing or discoloration and there may be larger writing, labels, or marks. Corners may have damage or creases and there may be scratches or gouges that otherwise damage the artwork.  FAIR (F):  Several (but not all of the following flaws will apply): Seam splits, large marker writing, major seam splits, significant ring wear, damaged corners, tears, cuts, gouges, masking or duct tape seam repairs, or other flaws and damage. Again, probably only useful to fill a collection niche until something better can be found.

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