This is a first pressing - good luck finding another copy this clean    RIVERSIDE (RLP 12-317) MONO

RECORDED JAN. 13 AND 14 1960. Like my other vintage Jazz listing (see Charles Mingus) I purchased this one at the same Berlin Record show some 30-years ago.  Audiophile playback -

However, (see photo) this was probably a no sale record and the had a 'hole' to destroy future sales press through cover and label.. it never bothered me any, and it certain did not in any way affect the audio playback on my vintage Thorens at all.. Killer jazz album here! Hard to find a cleaner copy! Played but a few times- superb pressing!! Super clean and stiff cover!!! straight edge spine; - seminal Timmons jazz session 

NM- vinyl (small hole center of label)

NM- (small hole center of cover)

"BUY NOW" for those who need to have this enjoyment of audio investment...don't want to wait.. hassle free "Bam!" IT'S YOURS ....

This is Timmon’s debut jazz LP as leader. This is NOT, 2nd pressing or crappy CD edition or reissue on vinyl from the Original Jazz Classics series! 

What you are bidding on is a nm first pressing original that has what I would call cosmetic issue only ‘small pin hole through center of cover and record label as it probably did not sell and this was standard in the industry.  

Playback is stunning and robust with his famous tracks he wrote. Pianist Bobby Timmons by early 1960 had already had successful stints with Art Blakey (where he contributed "Moanin'") and Canonball Adderley (writing "This Here" and "Date Dere"). For his first recording as a leader, Timmons (whose "funky" style was beginning to become very influential) performs those three hits along with his own "Joy Ride" and five standards in a trio with bassist Sam Jones and drummer Jimmy Cobb. Always more than just a soul-jazz pianist, Timmons (who effectively takes "Lush Life" unaccompanied) became a bit stereotyped later in his career but at this early stage was at the peak of his creativity. Essential music.

Timmons left Cannonball Adderley in February 1960 to rejoin Art Blakey. According to Sheridan's book, the departure came "amid rumors that he was unhappy about his earnings from Dis Here and that Mr. Blakey had offered him a better pay deal to return."

In January 1960—between the Cannonball Adderley recordings of October 1959 and February 1960—Timmons recorded This Here Is Bobby Timmons. All of the selections on the album are killer soul jazz, Dat Dere is the high point and a piano masterpiece. Taken in march time, the groove is unbelievably strong. It's so infectious that no matter how many times I listen to it, I can't wait to hear the tune again.

My enthusiasm for Dat Dere takes nothing away from This Here, Moanin' and Joy Ride, which are just as spiritual and rousing. But the beauty of this album goes beyond Timmons' originals. The pianist handles other composers' standards with the same level of sophistication and robust execution as his own works.

My Funny Valentine and Come Rain or Come Shine are fast becoming my personal favorite piano versions of these ballads. Match up Timmons' bluesy Come Rain or Come Shine against any Bill Evans version and hear for yourself. They are two different moods, to be sure, but I think you'll agree it's a pretty close call.

After recording This Here Is Bobby Timmons, the pianist recorded six more leadership albums for Riverside and six for Prestige after Riverside went under. He also continued to record as a sideman. But after 1964, Timmons recorded less and less—a victim of declining popular demand for earthy jazz trios, increased pressure to produce This Here-like standards, and battles with a terribly destructive drug habit.

Gheez! Not much else to say - what you see in the photos is what you get!

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