COLTRANE "LIVE VILLAGE VANGUARD" FIRST PRESSING RARE 1962 STEREO ORANGE 'AM-PAR'

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COLTRANE "LIVE VILLAGE VANGUARD" RARE FIRST PRESSING '62 STEREO ORANGE IMPULSE A-10-S
JOHN COLTRANE "LIVE AT THE VILLAGE VANGUARD" RARE ORIGINAL 1962 FIRST PRESSING STEREO LABEL: IMPULSE!  A-10  A-10-S RELEASED: FEBRUARY 1962 RECORDED AT THE VILLAGE VANGUARD, NYC, NOVEMBER 2-3, 1961 RECORDING ENGINEER: RUDY VAN GELDER ('RVG'IN MATRIX) MASTERING & LACQUERS: RUDY VAN GELDER ('RVG'IN MATRIX) LACQUER PLATING/STAMPERS: LONG-WEAR PLATING, LONG ISLAND, NY ('LW' in Matrix) RECORD COMPANY: IMPULSE! (AM-PAR) PRODUCER: BOB THIELE LINER NOTES: NAT HENTOFF ALBUM COVER DESIGN: ROBERT FLYNN at VICEROY GATEFOLD PHOTO OF COLTRANE: PETE TURNER MATRIX (SIDE A): AS·10·A (Etched) RVG STEREO LW (Stamped) MATRIX (SIDE B): AS·10·B (Etched) RVG STEREO (Stamped) The catalog number is hand etched and the 'RVG STEREO' AND 'LW' is stamped
CONDITION:  VINYL: VG  JACKET: VG+  INNER SLEEVE: VG++ ★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★
I've been going thru my large vinyl record collection the past few months and pulling out some LPs that I thought that someone else would want for their collection. I've been collecting records for nearly 50 years and it's time to pass some of them on to the next generation of collectors.
After all, we are just temporary 'caretakers' of these musical gems until the next owner and next collection takes them in.
This week on EBay I'm offering up this rare, 1962 First Pressing Stereo copy of the jazz classic "John Coltrane 'Live' at the Village Vanguard" on the very early Orange/Black Impulse! label.
This copy is from my personal collection and I've owned this record for at least 40 years now.
I recently found a very nice, clean, great sounding early pressing, made from the same RVG stamped plates as this First pressing, so, knowing that some collectors are looking for the true 'original' pressing of this grail, I decided to let this copy go. 
The jacket is beautiful, and likely a nice upgrade for someone out there. The vinyl is 'acceptable', has lots of superficial hairlines and evidence of play, but may also be an upgrade for someone.
Original First Pressings of this classic John Coltrane record are exceedingly rare as it was considered too 'out there' for 1962 tastes and initially sold poorly. Bossa Nova and Getz/Gilberto was the trend in Jazz at the time and this record is far from that, but fantastic in it's own way.
Although not a perfect copy, I thought there might be someone out there that would appreciate this Coltrane classic and want to add this rare First pressing to their collection.
Please read the full description of this album's content, the musicians involved, the story of it's recording, and more details on the record's condition below. ★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★
This copy is a rare First Pressing of "Live at the Village Vanguard", the first Stereo pressing, released in February 1962.
The First pressing of this album can be identified by the early Orange Impulse! labels with the black ring, the lack of any rim text on the label, the unique early catalog number 'A-10-S' on the label, and the label text which reads:
"A PRODUCT OF AM-PAR RECORD CORP" / "PRINTED IN USA"
First pressings have 'STEREO A-10' on the front cover, and the unique 'A-10-S' catalog numbers on the labels.
First pressings have the "Printed in U.S.A.", not "Made in U.S.A." wording and the  "A product of Am-Par Record Corp." text.
You can also tell a First Pressing by the publisher's name on "Chasin' the Trane". First and very early pressings have it credited to "Harms, Inc.", which was changed over early on.
This First pressing comes in a beautiful laminated Gatefold sleeve with "Impulse Records, a product of ABC-Paramount Records, Inc., 1501 Broadway, N.Y. 36." printed in the upper right of the inner gatefold. "Eric Dolphy, courtesy Prestige Records" appears in the box inside the gatefold.
The Deadwax runouts have the early “RVG STEREO” and “LW” (Longwear Plating) stamps.  Early Impulse! albums have Rudy Van Gelder's 'RVG' stamp, which was soon changed to the full name "VAN GELDER' stamp as he became better known for his excellent mastering.
MATRIX (SIDE A): AS·10·A (Etched) RVG STEREO LW (Stamped) MATRIX (SIDE B): AS·10·B  (Etched) RVG STEREO (Stamped)
The catalog number is hand etched and the 'RVG STEREO' AND 'LW' are stamped.
This copy also has an early original Impulse! inner sleeve, but NOT the correct one. The sleeve is a 'spare' 1964 Impulse sleeve featuring Coltrane's 'A Love Supreme' album. It's from slightly later, but 'fits' well with the look and design of this album, so I added it in. It looks great and completes the package, although not technically 'correct'. ★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★
THE BACKGROUND & STORY OF 'LIVE AT THE VILLAGE VANGUARD' (IMPULSE! AS-10/ A-10-S)
In April 1961, the 36-year-old saxophonist John Coltrane became the first artist signed to Creed Taylor’s new Impulse! record label.
A month earlier, Coltrane had an unexpected and unlikely hit for Atlantic Records with his radical, modal reworking of Rodgers & Hammerstein’s 'My Favorite Things', but he wasn't sitting around to soak up all the fame, praise and glory, he was constantly moving forward.
In a controversial move, Coltrane then added the 34-year-old experimental multi-instrumentalist Eric Dolphy to his core piano/bass/drums line-up of McCoy Tyner, Reggie Workman and Elvin Jones and recorded the powerful and defiant 'Africa/Brass' album, his first for the new label, and very different from 1960's "Giant Steps" and 'My Favorite Things' recorded for Atlantic.
Coltrane's early Impulse! albums revealed the sound of an artist in a constant state of flux and evolution, becoming more intense and combustible, but also more spiritual and soul-searching.
Coltrane's new group had a 2-week engagement booked at The Village Vanguard in Greenwich Village and his new record company wanted to capture Coltrane's spontaneous energy live on stage. They arranged to record 4 of those nights at the Vanguard.
Impulse! sent producer Bob Thiele down to the club along with legendary recording engineer Rudy Van Gelder to hopefully capture Coltrane's lighting in a bottle, or at least on tape.
It was the first time Thiele and Coltrane met in person. They instantly connected, and Thiele would go on for years to produce all of Coltrane's future Impulse! albums.
Rudy Van Gelder set up all his gear on a table near the stage and reportedly used a dozen well-placed microphones to capture the performances. 
Rudy recorded all 4 nights, but this album is made up of tracks from the November 2nd/3rd 1961 shows. Performances from other nights were later issued on 'Impressions' and eventually all 4 nights were eventually released as a box set in the 1990's.
The result was Coltrane's first live album, 'Live at the Village Vanguard'.
The sound of this First pressing is just outstanding and this album puts you right in the New York City club that night. It's a live album, but the audience isn't obvious or overbearing. Rudy includes just enough audience reaction and participation to remind you that it was recorded live and spontaneous.
The liner notes remark about how Coltrane wanted to capture the pure and raw spontaneity of a live performance for this album, and that's exactly what this record does.
There is a top notch band at play here, and all the musicians were at the top of their game for these Vanguard shows. 
The Quintet of musicians on this album includes:
JOHN COLTRANE: TENOR & SOPRANO SAXOPHONES ERIC DOLPHY: BASS CLARINET (Track A1) McCOY TYNER: PIANO ELVIN JONES: DRUMS & PERCUSSION REGGIE WORKMAN: UPRIGHT ACOUTIC BASS JIMMY GARRISON: UPRIGHT ACOUTIC BASS (Uncredited)
Being a live album, recorded on a relatively small stage, in a tiny club, the soundstage is slightly narrow and diminished, but that doesn't distract from the quality or immersion in the music presented here. If anything, it enhances it. It sounds just like you're sitting at a front row table, in a small jazz club, enjoying a great performance while the band is playing onstage right in front of you.
Rudy's mastering has excellent dynamics, with depth, detail, and nice clear separation of the instruments in the soundstage. There's very clear stereo separation and the various musicians can easily be 'seen' and located in the room.
What makes this particular album so great is the range displayed by Coltrane. Whether playing Tenor or Soprano, his horn sounds crisp and clear. He blows and flows very freely, sounds relaxed, and you can hear all his small details and textures, as well as feel all the power, punch and edge of his playing. 
This album reveals an astonishing and amazing variety of textures and sounds that Coltrane was able to create by using the full range of his horn. A stellar performance. Truly impressive.
McCoy Tyner on piano is absolutely on top of his game. His piano sound is clear, excellent and perfectly EQ’ed when bought to the fore. His notes have a lovely realistic tone, detail, and they hang in the air. When he plays hard, McCoy's piano has a real presence and edginess. 
The rhythm section is not lost in the mix either. The drums and bass are tight, weighty, and sound natural. The bass is warm and pounding, and Elvin Jones' drums, cymbals and brushes come through loud and clear, adding excellent touches and flourishes. 
Despite being live, the audience is not very noticeable, but Rudy adds a smattering of applause from the Village Vanguard crowd now and then just to remind you that what you're listening to is live and happening in the moment.
This excellent recording actually sounds great. A fantastic representation of this historic, phenomenal performance, and gets my vote for being in the top five live jazz albums of all time. Everything's perfect!   I can't recommend this album highly enough.
Just before these Vanguard shows took place, Coltrane added Jimmy Garrison on bass, as Reggie Workman was considering moving on. Garrison actually plays fantastic upright bass on "Chasin' the Trane", but is not credited on the album.
These shows were Workman’s final recordings with Coltrane, and Jimmy Garrison’s first, establishing Coltrane's classic quartet of the mid-60's. ★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★
This album contains just 3 live performances; two original compositions and one jazz standard:
'Spiritual'  (13:47) 'Softly As In A Morning Sunrise' (6:36) 'Chasin' The Trane'  (16:08)
The album starts off with the aptly titled 'Spiritual', a 13 minute long, soft, reflective track, played by the full quintet, featuring Coltrane on both tenor and soprano saxophones and Eric Dolphy on Bass clarinet. The song sounds great in stereo, with Dolphy on the right and Coltrane on the left.
The song flows along pleasantly, driven by Workman’s smooth bass lines and Elvin Jones’s groove, with shimmering, ringing cymbals and his powerful snare hits, before Eric Dolphy takes a long, snake-like solo, followed by McCoy Tyner's excellent left channel piano solo. Rudy was notorious for his 'odd' piano sounds in the studio, but here, live in a club, McCoy's piano has a lovely realistic tone.
The songs glides right along before Coltrane enters again, this time on soprano. Dolphy's Bass clarinet has a softer, relatively mellow, woodwind tone that perfectly compliments Coltrane's more bold and powerful horn sound.
Side one concludes with the quintet's relatively short take on the jazz standard “Softly As in a Morning Sunrise”. Everybody swings along to the melody, with Reggie Workman keeping the groove, while Elvin Jones plays some terrific brush-work and Coltrane plays some nice, surprisingly straight-forward, lyrical soprano sax.
Coltrane commented at the time that the tune "seems to me to round out the two originals, and I especially like the swinging by Jones..."
Flip the record over and we get to this album's third selection, it's highlight, a 16-minute piece of music that literally shook both the critics and the foundations of modern jazz. 
The blues tune "Chasin' the Trane" was described by Down Beat magazine writer Pete Welding  as "a torrential and anguished outpouring, delivered with unmistakable power, conviction, and near-demonic ferocity".
The track is performed as a trio. McCoy Tyner sits this one out, and the absence of a piano allowed Coltrane the freedom to "stretch out" on his tenor sax without the normal harmonic, chordal, and structural limitations and 'anchors' provided by a piano. 
Coltrane and his rhythm section were free to fly, and off they went.
In the album's liner notes, Coltrane states that "the melody not only wasn't written, but it wasn't even conceived before we played it. We set the tempo, and in we went...."
The song starts out as a blues, fairly subdued, but Coltrane soon starts to disregard the normal 12-bar rules and markers, and he takes off, exploring textures, sounds and melody.
Elvin Jones was a good enough drummer to tackle anything, and he keeps the tune held together and churning along with his steady hi-hat pulses, while Jimmy Garrison, who had recently played with Ornette Coleman's piano-less quartet, and was used to not having a road map, easily keeps up. Amazing and glorious!
"Chasin' the Trane" contains some of the most astonishing improvisational work ever recorded. Musical limits are a bent, stretched and twisted, but it's remarkable how in sync the musicians are, and how tight and high quality their playing is. 
"Chasin' the Trane" has some of the most intense and emotional playing of Coltrane's career up to that point. The energetic performance was a cathartic, liberating 'experience', a 'cleansing of the mirror' as he would later describe it, that sounded unlike anything that preceded it. It just spontaneously emerged as a live, in the moment, stream-of-consciousness creation for the small Vanguard audience that night.
The song was later described by Coltrane biographer Ben Ratliff as his "landmark performance of the period."
For decades, I just thought the title "Chasin' the Trane" was in reference to Garrison and Jones trying to 'musically' keep up with Coltrane, but it was Rudy Van Gelder who was doing the 'chasing'.
I was fascinated and humored by the fact that the title of the song was actually suggested by Rudy, who had to literally climb over patrons & obstacles, and 'chase' Coltrane around the stage, trying to keep one of his microphones close to the bell of the leader's saxophone at all times, as he moved around the club and physically swung his horn back and forth while performing this song. The resulting recording sounds great considering what Rudy had to do to 'capture' it. ~~~~~~~~~~~~~~~~~~~~~
Released in February 1962, 'Live at the Village Vanguard' was Coltrane's first live album and the first of many to feature his 'classic' quartet with McCoy Tyner, Jimmy Garrison, and Elvin Jones.
The album generated much turmoil and controversy among critics and fans alike at the time with its 'challenging' music and it didn't sell very well. Original pressings in nice, clean condition, are quite rare and hard to find.
This album has since been recognized as a true classic, one of the best 'live' jazz albums ever recorded, and an essential John Coltrane record. It belongs in every serious Jazz collection.
This classic album has been reissued and repressed many times over the years, and most any pressing of this album sounds great, that is until you hear an original first pressing.
Many of the reissues were made from copies, or copies of copies, of the master tapes, as the original masters were reportedly somehow 'lost' or 'misplaced' back in the early 60's.
This First pressing was recorded, mastered, and cut by Rudy Van Gelder himself, from the very fresh master tapes. The plates and stampers were made at LongWear plating, a new state-of-the-art facility at the time, and pressed on thick, heavy, high quality vinyl.
These First pressings sound amazing and are deserving of all the praise and hype they receive. Nothing else comes close. ★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★
This album, like most all of Impulse's early albums, was released in a strong, sturdy, Gatefold jacket with a gorgeous glossy laminated front and back cover. The inside featured excellent liner notes by NY Times music critic Nat Hentoff and a fantastic portrait of Coltrane.
The front and back cover of this First Pressing copy still looks fantastic. The full lamination and gloss is still present, the colors are bold, the artwork crisp, and there is no ringwear, scuffing or damage. A beautiful jacket. Reissue jackets pale in comparison.
The iconic Impulse! spine looks great; straight, wide, bold and crisp. I love how all these Impulse jazz albums look lined up on my record shelves together, with the white 'A Love Supreme' standing out from all the rest, as it should.
Note that the inside of the gatefold does have a few spots and stains, but almost all copies do. Also note that there's a very tiny 'split' or 'crack' in the center of the gatefold seam. Unfortunately, another common feature of these old, dry, vintage original Impulse! gatefold covers. See my pictures for details.
A beautiful packaging and a fantastic looking original cover. Top notch! Decades ago I added the 1964 Impulse inner sleeve to complete the look. I tried to show details in my photos. ★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★
The vinyl is still in acceptable condition. Not great, but decent and acceptable. I guess I'd call it VG.  I gave lots of close up pictures of the vinyl so you can judge for yourself.
At first glance, just general appearances, the vinyl looks fantastic, but that's deceptive. When you look closer, in the right bright light, there are quite a few very light, very superficial hairlines and superficial 'scratches', which are difficult to photograph. Nothing palpable or 'deep', but lots of superficial wear.
These old Impulse!, Blue Note and Riverside Jazz albums were cut and pressed very well and very deeply. They were meant to be played on the typical average stereo equipment of the day, and meant to be able to take some play wear and still sound great.
So, despite some significant wear, this 1962 Stereo First Pressing, made from fresh master tapes, likely still sounds better than many of the later reissues and hum-filled, so called 'audiophile' pressings out there. ~~~~~~~~~~~~~~~~~~~
** NOTE: I did not want to play this on my high-end system and expensive turntable and risk any damage to my needle, so this was NOT play-tested.
Therefore I'm selling this rare 'Collector' record "AS IS" and "NO RETURN". It's a rare original 1962 First Stereo pressing and it's as described and as pictured. Despite the vinyl condition, I'm sure you'll be very happy with it. A truly exceptional album, one of the classics, and a real gem for any serious jazz vinyl collection.
★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★
I’m recently retired and downsizing and letting go some gems and rarities from nearly 45 years of vinyl record collecting. Check out the many other fantastic 45s and 33s coming soon to my page!
All records have been carefully evaluated and graded by me. I visually inspect all records under bright light, personally gently clean them with a soft cloth and then, if unsure, play them on a modern high-end turntable to get a true picture of condition. 
Please look at all the high-resolution pictures I added. They are all my own and are of the actual record being sold. The pictures are part of the description and can show small details, label variations, and condition better than I can put into words. 
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THANK YOU for looking and reading if you got this far. I know I rambled on a bit, but can't help it. I have a passion for records and jazz, especially the great John Coltrane.
I hope this listing was entertaining and informative.
HAPPY HOLIDAYS TO YOU AND YOURS AND WE WISH YOU MUCH PEACE AND PROSPERITY IN THE YEAR TO COME!! ~~ JOHN