WES MONTGOMERY+JOHNNY GRIFFIN FULL HOUSE RARE'62 RIVERSIDE BLACK LABEL STEREO LP

$

191

WE CURRENTLY HAVE  MORE THAN 300  LISTED ITEMS

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·       WES MONTGOMERY – FULL HOUSE; LIVE AT THE TSUBO, BERKELEY, CALIFORNIA –  1962 RIVERSIDE RECORDS STEREO LP RS-9434

·       FEATURING: Johnny Griffin  -  Saxophone, Sax (Tenor)   -  Wynton Kelly  -  Piano   -  Wes Montgomery  -  Guitar   -  Jimmy Cobb  -  Drums   -  Paul Chambers  -  Bass  -   (ESSENTIALLY, ONE HALF OF THE MILES DAVIS' "KIND OF BLUE" SEXTET, WITH JOHNNY GRIFFIN REPLACING JOHN COLTRANE)

·       GENUINE  U.S. PRESSING

·       BLACK RIVERSIDE STEREO LABEL WITH MICROPHONE AND TAPE REEL LOGO AND SILVER PRINT, LATE 50’s STYLE

·       EXTREMELY RARE STEREO PRESSING, MANY TIMES RARER THAN MONO

·       THIS IS NOT AN IMPORT, RECORD CLUB RELEASE OR A COUNTERFEIT PRESSING.

·       ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)

·       CLEAN, WEAR-FREE LABELS

·       THICK, HEAVY VINYL PRESSING

 (►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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This is one of my top 5 greatest jazz guitar records, and one of the most exciting live records ever issued. First, there is the rhythm section. Is there a harder swinging section than Paul Chambers, Wynton Kelly and Jimmy Cobb? Thank you Miles. Check out how they lock into the groove, especially on Full House, S.O.S. and Blue N Boogie. Wes' playing here is some of his absolute best on record. Hard-charging, beautiful melodies, incredibly well-crafted solos, it's all here and then some. You even get a beautiful, mostly unaccompanied rendition of I've Grown Accustomed to Her Face. Then there is the absolute smoking Johnny Griffin, the Little Giant, who contributes solos and that work beautifully to compliment and contrast Wes' own. So in conclusion, I can't recommend this session enough. It's a gorgeous recording made when these players were at the absolute peak of their powers.

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

On this sizzling live date, guitar great Wes Montgomery is joined by the Wynton Kelly Trio (Wynton Kelly/piano, Paul Chambers/bass and Jimmy Cobb/drums) and the under-rated Johnny Griffin on sax who absolutely tears up this set. Kelly, always a tasteful player, demonstrates his delicate touch while soloing or in support; you could focus your total listening attention on him through the length of the album as he populates the tunes with colourful details. Chambers, who is captured here with great fidelity, takes the opening solo on ‘Cariba’ and is nothing less than captivating. On the steam-rolling ‘S.O.S.’ Johnny Griffin and Wes Montgomery share front-line duties and sparks fly. Griffith’s solo is acrobatic and thrilling which inspires a scintillating turn from Montgomery. The unaccompanied version of ‘I’ve Grown Accustomed To Her Face”, all creamy surfaces and finesse, is mesmerising, sharing his infectious joy of discovery with the enraptured audience. Throughout the entire album his virtuosity seems effortless, which is why he has been so loved through the decades to the present day.

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

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 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.

(b)          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!

(c)           Stereo  pressing of this title is much rarer, and by far more preferable to its mono  counterpart. The mix is more graphic, the sound resolution more precise, and the channel separation (which does not exist on mono version) adds a whole new dimension to the music. Also, the stereo mixes are (by definition) somewhat different than on the mono version. We estimate that mono copies of this album outnumber stereo copies  by a ratio of at least 10:1.

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

·                               THE COVER

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

The following flaws or imperfections are noted on the cover:

-        Cover has JUST A HINT of 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 1 (front side) and 2 (back side).

-        Cover shows JUST A HINT of yellowing on back side, apparently from aging.

-        Cover has three corners slightly worn / dinged (nothing significant)

-        Cover has a partially split bottom seam (less than 1 inch / 2.5 centimeters)

-        Cover has a minor 'bump' (1/4" dent/tear) on the bottom seam (NO part of the cover is missing)

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE  COVER

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POSTAGE & SHIPPING:

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