Sam Rivers "Contours" original Blue Note mono LP (Hubbard/Hancock/Carter/Chamber

£ 25

$ 33

£ 25 Sold For

Dec 1, 2013 Sold Date

Nov 24, 2013 Start Date

£ 20 Start price

4 Number Of Bids

Great Britain Country Of Seller

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Description

I'm selling a copy of the album "Contours" which was the second album as a leader by the tenor sax player Sam Rivers with a killer band comprising of Herbie Hancock on piano, Freddie Hubbard on trumpet, Ron Carter on bass and Joe Chambers on the drums. It was originally issued on Blue Note in 1965.

The version I have is the original MONO issue released in the United States with a catalogue number of: BLP4206. Track listing etc is below.

The vinyl is in VG condition: has got some minor mottling and very superficial scratches on it that don't play - there is some noise at the beginning of Side 2 but it doesn't last more than a few seconds - apart from that it's a good loud pressing. Could use a visit to a Keith Monk cleaning machine.

The sleeve is in VG condition: minor ring wear, creases, mottling and a tear of about 13cm in length along the top edge from the opening.

Tracklist

A1 Point Of Many Returns A2 Dance Of The Tripedal B1 Euterpe B2 Mellifluous Cacophony

Companies etc

Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey

Credits

Bass – Ron Carter
Design [Cover], Photography By [Cover Photo] – Reid Miles
Drums – Joe Chambers
Liner Notes – Don Heckman
Piano – Herbie Hancock
Producer – Alfred Lion
Recorded By [Recording By] – Rudy Van Gelder
Tenor Saxophone, Soprano Saxophone, Flute, Written-By – Sam Rivers
Trumpet – Freddie Hubbard

Notes

Recorded on May 21, 1965.

Here's a review from All Music Group:

Review by Stephen Thomas Erlewine

On Contours, his second Blue Note album, tenor saxophonist Sam Rivers fully embraced the avant-garde, but presented his music in a way that wouldn't be upsetting or confusing to hard bop loyalists. Rivers leads a quintet featuring trumpeter Freddie Hubbard, pianist Herbie Hancock, bassist Ron Carter, and drummer Joe Chambers through a set of originals that walk a fine line between probing, contemplative post-bop and densely dissonant avant-jazz. Each musician is able to play the extremes equally well while remaining sensitive to the compositional subtleties. Rarely is Contours anything less than enthralling, and it remains one of the high watermarks of the mid-'60s avant-garde movement.

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