SONNY ROLLINS+MJQ @ MUSIC INN RARE ORIG MONO LP NICE
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· SONNY ROLLINS WITH MODERN JAZZ QUARTET - AT THE MUSIC INN, VOL. 2 – VERY RARE ORIGINAL ATLANTIC RECORDS MONO LP 1299
· ORIGINAL U.S. PRESSING
· ORIGINAL BLACK ATLANTIC MONO LABEL WITH SILVER PRINT.
· DEEP GROOVE PRESSING
· 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)
· ORIGINAL LAMINATED COVER
· THICK, HEAVY VINYL PRESSING
· CLEAN, WEAR-FREE LABELS
· MONO version of this album has NEVER been available on legitimate Compact Disc or in any other digital format.
(►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!)
The second volume of the Modern Jazz Quartet at the Music Inn was released in 1959, a year after its historic first volume with guest Jimmy Giuffre. The format on this set is similar, with pianist John Lewis, vibraphonist Milt Jackson, bassist Percy Heath, and drummer Connie Kay moving through a gorgeous medley of standards to open including "Stardust," "I Can't Get Started," and "Lover Man," with beautiful and clever counterpoint between Lewis and Jackson on the melody lines. There are two of Lewis' originals here as well. The first is the wry, spare "Midsömmer" that begins atmospherically, with sparse lines played by Jackson that reverberate as Heath's bowed bass underscores them. When Lewis enters, the melody unfolds tenderly and thoughtfully. It's a ballad of tension and textures. Lewis' penchant for classical architecture permeates the tune, though it swings gently as well, with Kay's brushed cymbals and gracefully caressed hi hat. "Festival "Sketch," at a little over three-and-a-half minutes, takes a counterpoint melody and generates a skittering swing tune out of it. As on the previous volume, the Modern Jazz Quartet are joined by a guest for the final two cuts; ace saxophonist Sonny Rollins digs in on both the classic "Bags Groove," composed by Jackson, and Dizzy Gillespie's bebop anthem "Night in Tunisia." Both tunes are rooted in blues grooves. Rollins understands the MJQ's use of tension and dynamics beautifully. His big, warm tone above Lewis and Jackson on the former is sweet, relaxed, and in-the-pocket. On the latter, the knotty melodic frame is played a little slower, but is a tough fingerpopper nonetheless, with Rollins playing accents in the opening vamps and the just gliding into his big bluesy solo. This is a welcome addition to volume one, and a larger study in contrasts given Rollins propensity to really blow, as opposed Giuffre's lower key approach on the first volume. To say that this set works is an understatement. It is a highlight of the group's storied career on Atlantic.
(EXCERPT FROM AN ONLINE REVIEW BY THOM JUREK, ALL MUSIC GUIDE /ALLMUSIC.COM/)
For additional historical information on this album, including track listing ►click here
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THIS IS A NO-RESERVE AUCTION!
(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 (WEAK) NEAR MINT. Some VERY LIGHT AND SUPERFICIAL abrasions – mostly sleeve scuffs - are (barely) visible, but are probably inaudible, and do not affect visual integrity or beauty of the vinyl. The original luster is very much intact, and the vinyl shines and sparkles almost like new.
(b) The album comes with its original, 'rice paper' inner sleeve (typically used in the 50’s and very early 60’s) which has - apparently with success - shielded the vinyl from the harmful impact of elements over many years! We believe that, despite great technological progress, these early 'rice paper' inner sleeves provided a degree of protection MUCH HIGHER than any other material used ever since.
(c) The record has a "deep groove" (an indent in the label about 1/2-inch from the edge of the label, which on SOME labels is associated with very early or first pressings).
(d) 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!
(e) Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!
· COVER (THIS IS THE ORIGINAL, LAMINATED, GLOSSY COVER):
THE COVER IS NICE --- ABOUT EXCELLENT OR VERY GOOD++ (VG++).
The following flaws or imperfections are noted on the cover:
- Cover shows some light yellowing on back side, apparently from aging.
- 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 has a small quality control (inspection) stamp on the back panel
- Minor shelf wear noted on the seams (nothing significant)
- Cover has some light ring wear (nothing significant); (VISIBLE ON BACK SIDE ONLY); 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 2.
NO OTHER IMPERFECTIONS ON THE COVER:
- No split seams
- No cut-out (drill) holes.
- No cut-out corners
- No saw-marks or indents
- No wrinkles or creases
- No writing
- 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 bar codes
- No RIAA stamps or stickers.
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