LEE MORGAN+HOWARD RUMSEY ALL-STARS DOUBLE/NOTHIN' RARE ORIG 1957 LIBERTY MONO LP

$

52

    
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·       LEE MORGAN  with HOWARD RUMSEY LIGHTHOUSE ALL-STARS, FEATURING BENNY GOLSON, WYNTON KELLY, CONTE CANDOLI, FRANK ROSOLINO, RED MITCHELL AND OTHERS) – DOUBLE OR NOTHIN' - ULTRA-RARE  ORIGINAL 1957 LIBERTY RECORDS MONO LP LRP-3045

·       ORIGINAL U.S. PRESSING

·       ORIGINAL TURQUOISE (AQUA-BLUE) LIBERTY MONO LABEL WITH SILVER PRINT, MID-50’s STYLE (BUT WITH THE PROPRIETARY  'LIGHTHOUSE' LOGO, UNIQUE TO HOWARD RUMSEY'S RELEASES)

·       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

·       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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Ace trumpet men Conte Candoli, based in California, and Philly-born Lee Morgan, then making his first impression on the jazz world, headline this 1957 session that grew out of a Charlie Persip gig at the legendary Pacific Coast club the Lighthouse. These two all-star groups belie the assumptions made at the time about the differences between the East and West Coast sounds (with underlining racial assumptions). Both trumpet players draw heavily on Dizzy Gillespie for inspiration, and both saxophonists (Benny Golson and Bob Cooper) are more indebted to swing master Lester Young than to any bebop saxophonist. Indeed, the contrast between the two is one of the pleasures of the session. Golson's lines are blurry and oblique, while Cooper's are finely etched and to-the-point. Both are also more noted for their writing skills, which are also on display here. Though the listener may expect such a jam session would feature usual blowing vehicles, here the music is largely original or of more recent vintage (though two [Golson's "Stablemates" and Horace Silver's "Quicksilver"] were destined to become standards). While the repertoire is refreshing, it leads to tentative performances on the tracks in which the two groups interact. The solos have awkward pauses between phrases, and loquacious soloists such as Morgan and trombonist Frank Rosolino rely on pet turns of phrase. The strongest playing comes on the tracks when the Morgan group and the Lighthouse All-Stars play as separate units. Morgan's promise shines through on the opener, "Reggie of Chester," and the All-Stars dig in for their strongest playing on the closing standard "Bye Bye Blues," in a classy setting that has the hallmarks of the Cooper arrangement.

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

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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 (minor, superficial, but visible "hairline" scuff noted on side 1)

(b)          The record comes in the original stock inner sleeve.

(c)           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!

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

·       COVER

THE COVER IS NICE --- ABOUT EXCELLENT OR VERY GOOD+++.

The following flaws or imperfections are noted on the cover:

-        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

-        The 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 JUST A HINT of yellowing on both sides, apparently from aging.

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

NO OTHER IMPERFECTIONS ON THE COVER:

-        No split seams

-        No cut-out (drill) holes.

-        No cut-out corners

-        No saw-marks or indents

-        No writing

-        No stamps

-        No tearing: no chips, dents or nicks on the seams

-        No peel-off marks

-        No stains

-        No mold or mildew spots

-        No stickers or labels

-        No water damage

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

-        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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