BILL EVANS TRIO AT SHELLY'S MANNE-HOLE - RARE MONO lp
$
56
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Description
Here for your delectation is the SPECTACULAR & RARE-------BILL EVANS TRIO AT SHELLY'S MANNE-HOLE.
Bill Evans (p) Chuck Israels (b) Larry Bunker (d)
``Shelly's Manne-Hole'', Hollywood, CA, May 14, 1963
* Our Love Is Here to Stay, 'Round About Midnight, Stella by Starlight, Isn't It Romantic, The Boy Next Door, Blues in F / Five [theme]
same personnel
``Shelly's Manne-Hole'', Hollywood, CA, May 19, 1963
* Wonder Why, Swedish Pastry
For an lp that opens with "Isn't It Romantic", this is a relatively sparse, aggressive Evans album. Compared to "Waltz for Debbie", for example, you won't hear as much of the soaring notes and atmospheric, delicate harmonies for which he is so famous. That said, it is still a fabulous LP, and just shows a different side of Evans.
Evans plays a wonderful collection of (mostly) standards, swinging on "The Boy Next Door ", with a nice bass solo by trio member Chuck Israels and some lilting runs by Evans. In the group, bass is emphasized more than drums (or just recorded better). There are several bass solos (e.g., on "Wonder Why", "Our Love is Here to Stay", and "All the Things You Are", to name a few) by the excellent Israels.
"Swedish Pastry" is a good example of the slightly different approach on this LP; Evans' boppish attack recalls the great Bud Powell. It also features an excellent Max Roach-like approach by Bunker. "Our Love is Here to Stay" stays fairly close to the melody, but Evans' swinging style and assertive comping by Israels and Bunker keep it moving. He takes Monks' "Round Midnight" at a slow pace, alternating brooding tones with lighter single-note runs. The final cut "Blues in "F" is vintage Evans, with excellent comping by Israels and Bunker.
The audience offers polite applause: neither detracting nor adding much to this live set. Recording quality is very good, and there are excellent liner notes by Chuck Israels. By the way, other than the famous Village Vanguard lps, this 1963 set is the only live recording Evans made for Riverside (and also the last he made for the financially strapped company.)
You are bidding on the original Riverside #487 Monaural. Both the cover and the record are positively minty-mint-----no scratches, no nothin' (see photo). I gladly accept money orders, cashier's checks and BidPay as preferable forms of payment (no personal checks!). Paypal is an acceptable alternative. I will ship internationally for additional charges. So bid soon for this impossible-to-find classic jazz masterpiece.
**A NOTE TO PROSPECTIVE BIDDERS** Despite my attempt to keep my ads as informative, yet as simple and uncomplicated as possible, I have realized that record purchasers are another “breed” entirely. As a result, I am deluged with questions both bizarre, and occasionally frivolous. I have even received a “warning” prior to shipment to a winning bidder telling me exactly what he expects----or else! I, therefore find it necessary to include this explanation of what to expect from me should you choose to bid on this or any of my other listed lps. To begin, all of these records come from my personal collection. I bought most of them in the 1960’s in new condition—although some came from close-out bins. Almost every one has been played only once or twice (it is a huge collection—how many times could I listen to them?!) Being a collector, I also took extremely good care of them. On the other hand, I was, and am, completely UNKNOWLEDGEABLE about details that “real” collectors have. To begin with, I frequently use the term “minty-mint” to describe the fact that I looked at the record under a normal lamp light and did not see obvious flaws. If I notice a scratch, I will mention it. I also will say a cover is “perfect” unless I see obvious tears or major stains. I say “original” because these were purchased 40-odd years ago and I want to distinguish them from newer releases---on the other hand, I have no knowledge of dates of pressings. And now, to the most important part---I have noticed other record sellers posting huge disclaimers discussing the scurrilous practices of some buyers, such as “switching” records that they purchase for others that they already own that are in considerably worse condition. Or, purchasing a record, and trying to negotiate a lower price after receipt of the merchandise with a threat of negative feedback. I am also sure that there are less-than-honest sellers out there. My position is simply this---my positive feedback speaks for itself----I try to sell exactly what I describe---within the parameters of my own knowledge. If my ad does not include information you require, please ask before you bid and I will try to answer promptly and to the best of my ability. If I cannot—don’t bid! Also, always understand that you are purchasing a used lp---lps are known to have clicks, pops, distortions, even occasional slight warping. They had these flaws when I purchased them. If it did not affect their play, I was not concerned. I was listening to the music. If you are expecting perfect sound----buy the CD! And lastly, do not attempt to renegotiate the price paid after receipt. I set my opening bid way below presumed retail if the lp is even available. I have been told occasionally that the record was really great, but not worth what the buyer paid----and would I send some money back to avoid disappointment or negative feedback. I even stupidly accepted return of a record that I was told was not an original, only to re-sell it to a collector who said it certainly was. I presume the original buyer taped it, since it was not available on CD. Those days are over for me. If you bought it, you own it. Everything I mail is sent wrapped in bubble pack and special (expensive) record mailers (for those who tell me the charge for s&h is higher than actual postage!) I aim to please as my feedback shows---but if you want to see or hear your item before buying, please go to a record store---not ebay. I apologize for having to write this----but I thank you for reading it.
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