ART FARMER w/BILL EVANS MODERN ART VERY RARE '58 UNITED ARTISTS STEREO LP DG EAR

$

26

WE CURRENTLY HAVE  NEARLY 400  LISTED ITEMS

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·       ART FARMER with BILL EVANS, ADDISON FARMER, DAVE BAILEY AND OTHERS - MODERN ART – RARE  1959 UNITED ARTISTS STEREO LP UAS-5007

·       GENUINE  U.S. PRESSING

·       VERY EARLY PRESSING CIRCA 1962 ON BLACK UNITED ARTISTS LABEL WITH MULTICOLORED LOGO (LETTERING) AT THE BOTTOM OF THE LABEL (EARLY-TO-MID 60’s STYLE).

·       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)

·       DEEP GROOVE PRESSING

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

·       ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)

·       ORIGINAL LAMINATED COVER

·       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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Modern Art is the prelude recording for Art Farmer prior to his partnership with Benny Golson in the Jazztet, and also foreshadows the classy, tasteful inventiveness that group brought to the modern jazz world two years after this 1958 session. Pianist Bill Evans is in here, just before his pivotal work with Miles Davis on the classic album Kind of Blue, and was the table setter for McCoy Tyner's membership in the Jazztet. Brother Addison Farmer on bass and the great drummer Dave Bailey round out this sterling quintet that specializes in playing music with a subtle approach, which is neither tame nor conservatively lazy. Included on this date is the great Junior Mance tune "Jubilation," perfectly understated in a light gospel, soul-jazz, tuneful melody with both horns wonderfully matched up in balanced unison, side by side. Farmer's lone compositional contribution, "Mox Nix," deserves similar iconic accolades, as it is an equally memorable, hopped-up shuffle with the uncharacteristically rumbling piano of Evans in soul-jazz to swing trim. Another notable track is Wade Legge's "Cold Breeze," which is hardly refrigerated, but instead a breezy hard bop vehicle, snappy, even-keeled, but not bubbling. The trumpeter, after all, is the official leader and arranger, taking the stage front and center for the ballad "Darn That Dream" and the midtempo take of "The Touch of Your Lips," with Golson in late, seconding the motions. For this time period, you clearly hear a refined and maturing Farmer, qualities he would retain for the remainder of his substantial career. He plops in the mute for Cole Porter's "I Love You," waxing poetic and effortlessly like a figure skater gliding through a simple routine, and Evans even gets to jam out a bit. Benny Golson's personal voice on tenor is also coming of age, as you hear during his feature "Like Someone in Love," but he's also starting to emerge as a writer with the moderately swinging "Fair Weather," displaying harmonic interplay that hints at things to come. The historical aspects of this recording, in retrospect, cannot be trivialized, but more importantly, some darn good straight-ahead jazz is played here by experts in their field.

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

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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 VG++. A few light abrasions  ARE VISIBLE, but they appear fairly  insignificant relative to the overall condition of the vinyl, and are only moderately visually distracting. For 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 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)           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 5:1.

(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)           The record has a "deep groove" (an indent in the label about 1/2-inch from the edge of the label, which on SOME labels is associated with very early or first pressings).

(f)            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 VERY GOOD++ (VG++).

The following flaws or imperfections are noted on the cover:

-         Cover has multiple (and frankly, annoying) ex-libris stamps on the back cover, covering much of the back panel

-         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 4 (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 light "wrinkle" (crease)  in one of the corners.

-         Visible shelf wear noted on the bottom seam

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

-         Cover has two corners slightly worn / dinged  / bent.

NO OTHER IMPERFECTIONS ON THE COVER:

-        No cut-out (drill) holes.

-        No cut-out corners

-        No saw-marks or indents

-        No writing

-        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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