CHARLIE PARKER w/CHARLES MINGUS MASSEY HALL#1 INSANELY RARE ORIG'55 DEBUT 10" LP

$

205

WE CURRENTLY HAVE  NEARLY 500  LISTED ITEMS

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·       CHARLEY PARKER (BILLED AS “CHARLIE CHAN” FOR CONTRACTUAL REASONS) AND “THE QUINTET”- JAZZ AT MASSEY HALL, VOL. 1 – ONE OF THE RAREST JAZZ RECORDS IN EXISTENCE – ORIGINAL 1955 DEBUT RECORDS MONO 10-INCH LP DLP-2

·       ORIGINAL U.S. PRESSING

·       THE SINGLE GREATEST LINEUP IN THE HISTORY OF JAZZ - Dizzy Gillespie on trumpet, Charlie Parker on alto, Bud Powell on piano, Charles Mingus on bass, and Max Roach on drums. (God was probably playing the good vibes)

·       ORIGINAL MAROON DEBUT LABEL WITH GOLD PRINT.

·       FLAT-EDGE PRESSING

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       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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One of the most famous live recordings in jazz history, this May 1953 concert from Toronto brought together five of bebop's greatest figures in alto saxophonist Charlie Parker (credited here as "Charlie Chan" in a purposely transparent attempt to sidestep Parker's exclusive recording arrangement with another record company), trumpeter Dizzy Gillespie, pianist Bud Powell, drummer Max Roach, and bassist Charles Mingus. Released following Parker's death two years after the date, the recording finds him in remarkable form, his playing robust, pointed, and witty. And although each participant is a band leader, composer, and groundbreaking stylist on his instrument, the performance demonstrates that Parker remained first among equals.

Compositionally, Jazz at Massey Hall leans heavily on the bebop book developed by Gillespie, and includes "Salt Peanuts," "Wee," and "A Night in Tunisia." Also featured are Tadd Dameron's "Hot House," the Ellington standard "Perdido," and "All the Things You Are." The  concert was recorded by bassist Charles Mingus, who overdubbed some additional bass parts and issued it on his own Debut label as THE QUINTET. Charlie Parker performed on a plastic alto, pianist Bud Powell was stone drunk from the opening bell, and Dizzy Gillespie kept popping offstage to check on the status of the first Rocky Marciano-Jersey Joe Walcott heavyweight championship bout.

Subsequent editions of this evening were released as a double live album (featuring Bud Powell's magnificent piano trio set with Mingus and Roach), dubbed THE GREATEST JAZZ CONCERT EVER. The hyperbole is well-deserved, because at the time of this concert, each musician on JAZZ AT MASSEY HALL was considered to be the principle instrumental innovator within the bebop movement. All of these musicians were influenced by Charlie Parker and their collective rapport is magical.

TO SEE IF WE HAVE OTHER LISTED ITEMS BY CHARLIE PARKER ►  CLICK HERE

TO SEE IF WE HAVE OTHER LISTED ITEMS BY CHARLES MINGUS ►  CLICK HERE

TO SEE IF WE HAVE OTHER LISTED ITEMS BY MAX ROACH ►  CLICK HERE

TO SEE IF WE HAVE OTHER LISTED ITEMS BY BUD POWELL ►  CLICK HERE

TO SEE IF WE HAVE OTHER LISTED ITEMS BY DIZZY GILLESPIE ►  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 STRONG VERY GOOD+(+) . CAUTION: The vinyl is NOT MINT or NEAR MINT, but is nevertheless in a very nice and clean condition. There are some surface marks and abrasions, mostly light and superficial, although some may be longer than 1.1/4 inches (1 inch = 2.5 centimeters) ; PLEASE NOTE: visible  (but fairly shallow) 1" scratch halfway down side B runs in the direction of the grooves (not perpendicularly) and will almost certainly cause a few pops and clicks

(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)           This is the original flat-edge pressing

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

·       COVER

THE COVER IS ABOUT VERY GOOD+(+)

The following flaws or imperfections are noted on the cover:

-        Cover has a partially split top seam (between 2 and 4 inches  / 5 to 10 centimeters); This split seam was delicately taped by the previous owner with a piece of transparent scotch tape

-         Cover has two bottom corners slightly worn / frayed / bent (just a beginning of the split seam)

-         Cover has some ring wear.  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 5.

-         Cover has a few tiny wrinkles along the spine  (BARELY VISIBLE)

-         Cover has a light "wrinkle" (crease)  in one of the corners.

-         Minor discoloration (color fading) noted on a narrow strip running parallel to the opening side (BARELY VISIBLE)

NO OTHER IMPERFECTIONS ON THE COVER:

-        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 yellowing from aging

-        No writing

-        No stamps

-        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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POSTAGE & SHIPPING:

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OUR REFUND POLICY :

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