JOHN COLTRANE w/HANK MOBLEY 2 TENORS RARE 1956 PRESTIGE MONO LP RVG VERY NICE

$

43

WE CURRENTLY HAVE  MORE THAN 100  LISTED ITEMS

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·      JOHN COLTRANE AND HANK MOBLEY with DONALD BYRD, ELMO HOPE, PAUL CHAMBERS AND PHILLY JOE  JONES – TWO TENORS – 1956 PRESTIGE RECORDS MONO LP 7043

·      GENUINE  U.S. PRESSING

·      IMPORTANT NOTE: THE PRESSING INFORMATION FOR THIS ALBUM WHICH CAN BE FOUND ONLINE (NOTABLY IN WIKIPEDIA) IS BLATANTLY INCORRECT, PARTICULARLY IN REGARDS TO THE YEAR OF RELEASE: [1]  THE ALBUM WAS ORIGINALLY ISSUED IN 1956 AND WAS CREDITED UNDER ELMO HOPE'S NAME (WITH COLTRANE, MOBLEY, BYRD,  CHAMBERS AND JONES LISTED AS SIDEMEN) AND WAS ORIGINALLY TITLED "INFORMAL JAZZ".   [2] A YEAR OR SO  LATER,  CIRCA 1957, IT WAS REISSUED UNDER COMPLETELY DIFFERENT TITLE ("TWO TENORS") WITH A DIFFERENT COVER (ABSTRACT BROWN AND BLACK COVER), AND DIFFERENT CATALOG NUMBER, BUT THIS TIME IT WAS CO-CREDITED TO COLTRANE AND MOBLEY  [3] THE THIRD ITERATION OF THE ALBUM WAS ISSUED, THIS TIME IN 1963/64, WITH YET ANOTHER COVER (BLACK AND  WHITE PHOTO COVER ON RED AND BLACK BACKRGROUND, WHICH IS THE COPY WE HAVE HERE) , BUT WITH SAME CATALOG NUMBER AS THE PREVIOUS ONE (7043) , SAME TITLE ("TWO TENORS") AND SAME MAJOR CREDITS (COLTRANE/MOBLEY) [4]. FINALLY, THE ALBUM WAS REISSUED ONCE MORE, FOR THE  LAST TIME, AROUND 1971/72, AGAIN BY PRESTIGE, AGAIN UNDER THE SAME TITLE ("TWO TENORS") AGAIN WITH THE SAME CREDITS (COLTRANE/MOBLEY), BUT WITH ANOTHER, COMPLETELY DIFFERENT COVER AND DIFFERENT CATALOG NUMBER.  CONTRARY TO THE INFORMATION OFTEN FOUND ONLINE THIS ALBUM WAS NOT ORIGINALLY RELEASED IN 1969, BUT NEARLY 13 YEARS EARLIER..  WHAT WE HAVE HERE IS THE THIRD (1963) VERSION OF THE ALBUM, WHICH WAS THE LAST ONE TO BE RELEASED IN TRUE MONO (THE 1971 RELEASE WAS ELECTRONICALLY RECHANNELLED STEREO)

·      VERY EARLY PRESSING CIRCA 1963 ON A  DARK BLUE 'PRESTIGE' LABEL WITH SILVER PRINT AND 'TRIDENT' LOGO.

·      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)

·      RARE MONO PRESSING, MANY TIMES RARER THAN FAKE (“ELECTRONICALLY RECHANELLED”) STEREO

·      THIS IS NOT AN IMPORT, RECORD CLUB RELEASE 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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The Prestige label turned out records like this at the rate they roast ducks in Chinatown, and there are plenty of happy souls who can't get enough of either. If this particular session hasn't assumed the legend of a jazz classic, it's because, on the whole, some little spark seems to be missing. If this element could be defined easily, and put into words quickly and efficiently, then record producers and musicians would know exactly how to create the perfect jam session record. The people involved in this record know much more about such a science then the average musician and record producer. These are musicians very far down the road from being average, all of this underscoring the difficulty of creating a spontaneous recording session at which moments of improvisational genius are expected to pop up.

While the album's title is another example of how cleverly labels such as this can describe what they are selling, there are really many aspects of these proceedings that are hardly informal at all. Describing these in the order in the importance, the obvious place to start is the drum and bass team of Philly Joe Jones and Paul Chambers. The playing of these gentlemen here is worth the price of the record alone, even if the copy is secured from a tightwad used-record store owner somewhere in the Ozarks who only opens the doors of his establishment for gold credit card owners. This is hardly the kind of rhythm section playing heard at a jam session, except possibly in heaven.

Elmo Hope mans the piano bench at the helm of this dream team, and while the liner notes call him the "nominal leader" for the blowing date, he earns actual leader status by accomplishing two things. First, his solo spots are the best part of the record, especially the part of "Weeja" where even Jones drops back, eventually adding some strange filigree. At this point the rhythm section seems to be making a statement about having gone through the rigmarole of backing all the previous horn solos in an exercise that is supposed to produce great moments of jazz, but maybe didn't. They play as if in relief, as if happy it is up to them for a change. What happens is truly memorable, but it sounds more like professional musicians who have worked together many times hitting a genius moment, not a jam session.

Second, Hope provides original material that helps give the record its personality. It is typical to pass off the tunes at sessions such as this as just simple contrivances to launch soloists, but again it is a stretch to imagine an "informal" recording session where even material as complicated as this is played. Both of the standards have arrangements that would leave jazz students, and some of their teachers, tying their shoes on the bridge. Hope's "Weeja" has a simple fanfare of a theme, sure, but it is arranged within a nifty series of short blowing spots. This is where the merry listener gets the treat of hearing Donald Byrd, Hank Mobley, and John Coltrane introduce themselves instrumentally, the latter tenor giant making a great ride of the bridge. Everything is tight, together, and without a hitch. Squeaking mouthpieces from Mobley and Coltrane are the only casual aspects.

These tenor titans are promoted as being involved in reviving the instrumental battle popularized by Gene Ammons and others here, but a real duel would require some kind of interaction between the participants. Mobley and Coltrane really don't seem to be paying much attention to each other, pursuing their own agendas. Mobley has the whisk broom and the fluff brush, enjoying an effortlessly fluid tone with a sound a bit like Warne Marsh at times. Coltrane continually blasts ringing melodic variations on various hard bop licks, each of them worthy of being chiseled into marble. The trumpeter's acrobatics are familiar, pole-vaulting through the changes, running the 440 through the bridge, then a standing broad jump in the trades with Jones. Can anyone else play like Byrd? It hasn't happened yet. The overall best performance is probably "Polka Dots and Moonbeams" -- since it is the one slow tune of the bunch, it gets the most special treatment. Shorn of nothing but moments of sheer brilliance, a shorter and better version of this album would feature only the piano solos and the parts where everyone trades fours with the drummer.

 (EXCERPT FROM AN ONLINE REVIEW BY EUGENE CHADBOURNE, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

TO SEE IF WE HAVE OTHER LISTED ITEMS BY JOHN COLTRANE ►  CLICK HERE

TO SEE IF WE HAVE OTHER LISTED ITEMS BY HANK MOBLEY ►  CLICK HERE

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·      CONDITION:

·      THE 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)         Mono pressing of this title is much rarer, and by far more  preferable to its FAKE ("electronically rechannelled") stereo counterpart. We estimate that FAKE stereo copies of this album outnumber monos by a ratio of at least 5:1.

(e)         The record comes in a hi-grade MFSL PVC inner sleeve, which has - apparently with success - shielded the record from the harmful impact of elements over many years!

(f)          True Stereo copies of this album are NOT known to exist.

(g)         Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·                          THE COVER

THE COVER IS ABOUT VERY GOOD+(+)

The following flaws or imperfections are noted on the cover:

-       Cover has some light yellowish stains, probably from exposure to humidity, covering about 50% of the panel.

-       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 4

-       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 both sides, apparently from aging (nothing significant)

-       Visible shelf wear noted on the seams

-       Cover has a partially split spine (between 2 and 4 inches  / 5 to 10 centimeters)

-       Cover has a few tiny wrinkles along the bottom seam

-       Cover has three corners slightly worn / dinged (nothing significant)

-       Cover has a visible wrinkle (crease) in the cardboard base on the back panel

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE  COVER

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POSTAGE & SHIPPING:

We offer three postage rates for domestic orders: USPS Media Mail, USPS Priority Mail and USPS Express Mail and three rates for international shipments:  USPS First Class, USPS Priority International Mail, and USPS Express International Mail (in a small number of cases, we will, at our discretion and for purely technical reasons, substitute First Class Mail with eBay's Global Shipping, which is fundamentally the same service at about the same cost). INTERNATIONAL CUSTOMERS PLEASE NOTE: WE RECOMMEND (BUT DO NOT INSIST) that you select USPS International Priority Mail when making a payment.

INTERNATIONAL POSTAGE rates vary from one region of  the world to another. For SPECIFIC international and domestic postage rates, please click on " Shipping, returns, and payments" tab in the header of our listing.

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CRITICALLY IMPORTANT INFORMATION:

(A) All orders valued at $50.00 or more will be shipped fully insured against loss, damage or theft by ShipCover, eBay's contracted insurer, at our expense (B) Yes, we do combine items into a single shipment; in order to enable this feature, the winning bidders should WAIT until their last item of interest ends and ONLY THEN make a payment. Doing otherwise will result in multiple shipments to the same customer and forfeiture of multiple shipping charges already paid. (C) Because we do not play-grade our items, we do not know how the purchased item will play on the buyer's equipment. We can only make reasonable inference on the record's playing condition based on its visual appearance. (D) This seller will NOT cancel erroneous, frivolous and prank bids. The bidders can do so on their own, by visiting eBay's Site Map, then clicking on Bid Retractions link. (E) This seller does not specifically grade or describe certain items, such as: shrink (cellophane) wrap and accompanying extras (inserts, booklets, etc.); however, the presence of these items WILL be noted and accompanied by the gallery photo(s). (F) Please do not submit any bids on our items if you have insufficient user history. (G) Other than in very rare justified cases, failure to pay for the item you won amounts to a fraud and will result in a permanent ban on bidding on our future listings. (H) We will NEVER deliberately, knowingly or willingly provide a false, deceitful or misleading information.

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OUR REFUND POLICY :

WE OFFER UNCONDITIONAL MONEY-BACK GUARANTEE (POSTAGE INCLUDED) WITHIN 30 DAYS FROM THE RECEIPT OF THE MERCHANDISE, NO QUESTIONS ASKED; STILL SEALED ITEMS MUST BE RETURNED SEALED IN ORDER TO BE ELIGIBLE FOR A REFUND.   NO EXCEPTIONS!

FINE (BUT IMPORTANT!) PRINT

 (1) The year indicated in the title bar is the year of the original release,  NOT necessarily the year of the actual pressing; for the actual generation of the pressing, please see our item description (top section, the text in red letters). (2) Please do NOT bid based on the title bar, subtitle bar or item specifics box alone; instead, please read the entire description before bidding; (3) Absolutely NO order cancellations after the auction closes. ever, under any circumstances. We can ONLY cancel bids before the item closes. (4) We are unable to provide matrix-, stamper- or other pressing  information in the final 24 hours of the auction. (5) All disagreements and miscommunications can be - and will only be - solved in a civil and mutually respectful manner; please avoid puerile, offensive, abrasive or menacing language (6) This seller will accommodate all reasonable requests and - unless seriously molested - is generally a flexible, pragmatic and agreeable person.

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