YUSEF LATEEF w/THAD JONES DETROIT RARE ORIG '69 WHITE LABEL PROMO-ONLY MONO LP

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·       YUSEF LATEEF with THAD JONES, BERNARD PURDIE, RAY BARRETTO AND OTHERS – YUSEF LATEEF’S DETROIT – ORIGINAL 1969 ATLANTIC MONO LP 1565

·       ORIGINAL U.S. PRESSING

·       *** WHITE LABEL PROMO ***

·       IN ADDITION, THE PROMOTIONAL STICKER ON THE COVER CLEARLY IDENTIFIES THE ITEM AS PROMOTIONAL

·       ULTRA-RARE PROMOTIONAL-ONLY MONO COPY; MONO VERSION OF THIS ALBUM WAS NEVER COMMERCIALLY RELEASED IN ANY WAY OR FORM

·       ORIGINAL ATLANTIC RECORDS LABEL WITHOUT WEA LOGO ALONG THE LABEL’S EDGE AND WITH BROADWAY, NY ADDRESS, WHITE PROMOTIONAL VERSION

·       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

·       CLEAN, WEAR-FREE LABELS

·       THICK, HEAVY VINYL PRESSING

·       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!)

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After issuing the spiritually compelling and contemplatively swinging Complete Yusef Lateef in 1967, Dr. Yusef Lateef's sophomore effort for Atlantic shifted gears entirely. Lateef chose his old stomping grounds of Detroit for an evocative musical study of the landscape, people, and spirit and terrain. Lateef spent the late-'50s in the city recording for Savoy, and this recording captures the memory of a great city before it was torn apart by racial strife and economic inequality in 1967. There is no way to make a record that suggests Detroit without rhythm, and Lateef employs plenty of it here in his choice of musicians: conga players Ray Barretto and Norman Pride; Tootie Heath on percussion; Cecil McBee, Roy Brooks, and Bernard Purdie; electric bassist Chuck Rainey; electric guitarist Eric Gale; pianist Hugh Lawson; and a string quartet that included Kermit Moore. In other words, the same band from the Complete Yusef Lateef with some funky additions. The string section, as heard on the opener "Bishop School," "Belle Isle," "Eastern Market," and "Raymond Winchester" is far from the pastoral or classically seeking group of recordings past, but another rhythmic and melodic construct that delves deep into the beat and the almighty riff that this recording is so full of. For all of the soul-jazz pouring forth from the Blue Note and Prestige labels at the time, this album stood apart for its Eastern-tinged melodies on "Eastern Market"; the "Black Bottom," gutbucket, moaning bluesiness on "Russell and Elliot," with Gale and Lateef on tenor trading fours in a slowhanded, low-end groove; and the solid, Motown-glazed, rocking Latin soul of "Belle Isle." The album ends curiously with the nugget "That Lucky Old Sun," played with a back porch feeling, as if the urban-ness of the set, with all of its polyrhytmic intensity and raw soul, had to be tempered at the end of the day with a good-old fashioned sit in the yard as the city's energy swirled around beyond the borders of the fenced lot. Lateef blows a beautiful tenor here, uing a motif from Sonny Rollins' version of the tune and slides it all the way over to Benny Carter in its sheer lyricism. It's the perfect way to close one of Lateef's most misunderstood recordings.

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

THE WHITE LABEL PROMO, RADIO STATION-, AUDITION OR DEMONSTRATION COPIES AND RELEASES (such as the one we have here) were often distributed to the radio stations before the record was released to the public, sometimes as much as four months ahead. These records are generally considered to be the "first among equals": the VERY FIRST generation and the VERY FIRST pressings of the particular title; a PROTOTYPE and the earliest known official pressing of the record.

In this case, though, this is a rather moot point,  because this rare promo-only version of the album was never commercially released to begin with.

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 apparently 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)           White Label Promo-only MONO version of this title is much rarer that a regular, commercially released, version of this title. We estimate that stock copies of this album outnumber promo copies by a ratio of at least 50:1.

(d)          Stock (commercially released) mono copies of this album are NOT known to exist.

(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 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 1  (front side) and 3 (back side)

-        Cover shows some light yellowing on both sides, apparently from aging   (nothing significant).

-        Back cover has some light yellowish stains, probably from exposure to humidity.   (about 7 square inches in size)

-        The laminated cover has a few air 'bubbles' and wrinkles in lamination (this is a common problem with most laminated 50’s and 60’s covers

NO OTHER IMPERFECTIONS ON THE COVER:

-        No split seams

-        No cut-out (drill) holes.

-        No cut-out corners

-        No saw-marks or indents

-        No dirt/dust rubbing stains (friction marks caused by rubbing against other covers)

-        No writing

-        No stamps

-        No tearing: no chips, dents or nicks on the seams

-        No peel-off marks

-        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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