SUN RA w/JOHN GILMORE HELIOCENTRIC WORLDS #1 RARE ORIG'65 ESP LP EAR AUTOGRAPHED

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102

    
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·       SUN RA with JOHN GILMORE and others - THE HELIOCENTRIC WORLDS OF SUN RA, (VOL. 1) -  ORIGINAL 1965 ESP-DISK STEREO LP ESP(S)-1014

·       ORIGINAL U.S. PRESSING

·       ORIGINAL RED ESP STEREO LABEL WITH WHITE LETTERS

·       The record has an "EAR" symbol (a pretzel-like engravure about 1/4-inch/6mm long) in the trail-off vinyl, which on SOME jazz labels is associated with very early or first pressings)

·       THIS ALBUM COMES FROM THE ESTATE OF THE LEGENDARY JAZZ PIANIST BILLY TAYLOR AND WAS PERSONALLY AUTOGRAPHED BY BILLY TAYLOR ON THE BACK OF THE COVER (POSSIBLY AS AN "EX LIBRIS" MARK); TO COMPARE THIS SIGNATURE TO OTHER KNOWN SPECIMENS OF BILLY TAYLOR'S SIGNATURES ►CLICK HERE

·       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 "TEXTURED" (NIBBED, LEATHER-LIKE BACK) COVER.

·       CLEAN, WEAR-FREE LABELS

·       MACHINE-STAMPED MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) OF THE RECORD

·       VERY THICK, HEAVY VINYL PRESSING (ALMOST 3mm AT THE SPINDLE HOLE)

(►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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Sun Ra's pivotal recording Heliocentric Worlds, Vol. I is one of those efforts that any fan of challenging improvised music should own. Done in the spring of 1965, it parallels many of the more important statements of the time, like John Coltrane's movement toward unabashed free jazz, the developed music of Ornette Coleman, emerging figures like Archie Shepp, Pharoah Sanders, and a fully flowered Albert Ayler. The Solar Arkestra was a solid 11-piece group, with hefty contributions by saxophonists Marshall Allen, John Gilmore, Pat Patrick, Danny Davis, and Robert Cummings, lone trumpeter Chris Capers, trombonists Teddy Nance and Bernard Pettaway, and the exceptional bassist Ronnie Boykins, playing strictly instrumental music, with no chants or vocal space stories. What is most intruguing about this Ra band is that the leader plays very little acoustic piano, choosing to focus his attention primarily on the bass marimba, and to a lesser extent an electrically amplified celeste. It's the prelude of his move to a raw but technologically driven sound as the synthesizer would come into his arsenal of instruments shortly after this. There's the deep blues of "Heliocentric," low key until lion-roaring horns enter, but the rip-snorting attitude of "Outer Nothingness" changes the tone, as multiple layers of improvisation build only to a mezzo forte level, with a collective percussion solo and the deeply hued, resonant, wooden bass marimba as played by the leader. Ra returns to his plucky sounding acoustic piano for the improvised "Other Worlds," then moves to the shimmering celeste while Boykins leads the charge of the full ensemble with a scattershot, fiery, chaotic, mad free bop. Perhaps a track that most perfectly represents the democratic nature of the Arkestra, "The Cosmos" features many segments stitched together, whether it be the bowed bass of Boykins stringing tied notes in seconds and thirds, Ra's galactic celeste, or bits and pieces of the horn section stepping up and out, with the final note struck by Jimhmi Johnson's royal tympani. An Egyptian, march-implied theme ruminates through "Of Heavenly Things" with the bass marimba and Allen's piccolo in the middle, "Nebulae" is a feature for the dense celeste of Ra played alone, and the conclusionary "Dancing in the Sun" is a two-minute burst of free bebop with Ra back at the piano. What makes this music so joyful and even organized is the way that individual voicings are able to both stand on their own, and work in context improvisationally. Though not quite the full-blown, magnum opus, operatic space drama the band would eventually conceive, the planted seeds from the huge tree of what they were about to accomplish are sown in this truly remarkable effort, still an event, and a turning point for early creative music.

 (EXCERPT FROM AN ONLINE REVIEW BY MICHAEL G. NASTOS, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

Just a few years after Jackson Pollock hit the world of painting straight between the eyes with his abstract expressionism, Sun Ra did the same to the world of Jazz (and was quickly followed by his acolytes: Eric Dolphy, Ornette Coleman and late-period John Coltrane who quickly mastered the fine art of musical deconstruction and abstraction). Ever an enigmatic character, Sun Ra claimed (among other things) to have been born on Jupiter - and his music truly, genuinely reflects his "place of birth". This record, which came out in 1965 on a legendary ESP label at the apex of the New Jazz movement (Coltrane’s earth-shattering "Ascension" came out earlier that same year) is truly a wonder of nature, a robust and masculine work which requires undivided attention and devotion on part of the listener. A master of all things modal and improvisational, Sun Ra created a masterpiece which is occasionally difficult and demanding, but is generally considered to be one of his finest works.

For additional historical information on this album, including track listing ►click here

TO SEE IF WE HAVE OTHER LISTED ITEMS BY THIS GROUP OR ARTIST ►  CLICK HERE

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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 STRONG VERY GOOD++ . CAUTION: The vinyl is NOT MINT or NEAR MINT, but is nevertheless in a very nice and clean condition. There are some surface marks and abrasions, mostly light and superficial, although some may be longer than 1.1/4 inches (1 inch = 2.5 centimeters)

(b)          The record has an "ear" symbol (a pretzel-like engravure about 1/4-inch/6mm long) in the trail-off vinyl, which on SOME  jazz and blues labels (such as Blue Note; Folkways; Period, etc…) is associated with very early or first pressings). The 'ear' symbol is actually a letter 'P' in italic script, denoting a pressing made by Plastilite Corporation’s pressing plant.

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

(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

THE COVER IS ABOUT VERY GOOD+(+)

The following flaws or imperfections are noted on the cover:

-         Cover has a minor 'bump' (dent) on the opening side / top  seam / bottom seam / spine   (VISIBLE ON BACK SIDE ONLY)

-         Cover has all four corners slightly worn / dinged / bent.

-         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 (front side) and 3 (back side)

-         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 back side, apparently from aging  (nothing significant).

-         Cover has a few tiny wrinkles along the spine

-         Cover has some visible fraying/tattering on the top and bottom seams

-         Cover has a partially split bottom seam (between 1 and 2 inches  / 2.5 to 5 centimeters)

NO OTHER IMPERFECTIONS ON THE COVER:

-        No cut-out (drill) holes.

-        No cut-out corners

-        No saw-marks or indents

-        No yellowing from aging

-        No writing (except for Billy Taylor's signature)

-        No stamps

-        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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POSTAGE & SHIPPING:

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