GENE HARRIS, Nexus [Blue Note] USA 1st pressing Excellent- LP FREE SHIPPING

$

27

Gene Harris – Nexus  Label: Blue Note – BN-LA519-G Format: Vinyl, LP, Album, Stereo Country: US Released: Oct 1975 Genre: Jazz, Funk / Soul, Pop Style: Fusion, Jazz-Funk, Funk A1 Sauda Written-By – C. Politte*, J. Rowin*, R. Jackson* 2:05 A2 Funky Business Lead Vocals – Jerry Peters Written-By – C. Politte*, J. Peters*, J. Rowin*, R. Jackson* 4:05 A3 Koko And Lee Roe Written-By – J. Peters* 6:05 A4 Love Don't Love Nobody Written-By – C. Simmons*, J. Jefferson* 7:28 B1 Rushin' Roulette (Don't Let It Backfire) Written-By – B. Sutton*, C. Davis (7), Sigidi 3:52 B2 Jitterbug Waltz Written-By – F. Waller* 5:34 B3 Gettin' Down Country Written-By – J. Peters* 4:00 B4 H.R.D. (Boogie) Written-By – J. Rowin* 5:08 B5 Prayer '76 Arranged By [Vocals] – Harold Clayton, Sigidi Lead Vocals – John Lehman, Lynn Mack Written-By – B. Sutton*, H. Clayton*, J. Peters*, Mbaji 5:34 Record Company – Blue Note Records Manufactured By – United Artists Music And Records Group, Inc. Distributed By – United Artists Music And Records Group, Inc. Phonographic Copyright ℗ – United Artists Music And Records Group, Inc. Copyright © – United Artists Music And Records Group, Inc. Published By – Row Char Music Published By – Parnassis Music Published By – Mighty Three Music, Inc. Published By – Crescent Star Music Published By – Sigidi's Song Published By – Chappell & Co., Inc. Recorded At – Music Recorders, Inc. Mixed At – Music Recorders, Inc. Mastered At – Allen Zentz Mastering Lacquer Cut At – Allen Zentz Mastering Arranged By – Jerry Peters Arranged By [Guitar And Bass Overdubs] – John Rowin (tracks: A1, A2, B4) Art Direction, Design – Bob Cato Backing Vocals – Harold Clayton, Jerry Peters, John Lehman, Julia Tillman, Keg Johnson (2), Lani Groves, Lynn Mack, Maxine Willard, Sigidi Cover [Cover Art], Artwork [Cover Art] – Scott Russell (4) Engineer [Mastered] – Allen Zentz, Linda Clay Engineer [Recorded And Mixed] – Jim Shifflett Executive-Producer – George Butler Horns – Albert N. Aarons*, Fred Jackson, Jr., George Bohanon, Mike Altshul* Lacquer Cut By – wcw* Percussion – Gerald D. Steinholtz*, Ronaldo N. Jackson Performer [Personnel] – Chuck Rainey, Gene Harris, Jerry Peters, John Rowin, Kenneth R. Rice*, Lee Ritenour Photography By – Doug Metzler Producer – Jerry Peters, Jim Shifflett, Keg Johnson (2) Programmed By [Synthesizer] – Charlotte Politte Strings – Charles Veal*, Julie Buffum*, Rewit Koven*, Wint Garvey* Synthesizer [Additional Playing] – Charlotte Politte (tracks: A1)

USA FIRST PRESSING VINYL ALBUM WITH ORIGINAL INNER SLEEVE.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR. INNER SLEEVE VERY GOOD+.

DISC: EXCELLENT MINUS. NO MARKS OR SCRATCHES, JUST A FEW LIGHT HAIRLINES. CLEAN LABELS.

Why buy a first or early pressing and not a re-issue or a ‘re-mastered’ vinyl album?

First and early pressings are pressed from the first generation lacquers and stampers. They usually sound vastly superior to later issues/re-issues (which, in recent times, are often pressed from whatever 'best' tapes or digital sources are currently available) - many so-called 'audiophile' new 180g pressings are cut from hi-res digital sources…essentially an expensive CD pressed on vinyl.  Why  experience the worse elements of both formats?  These are just High Maintenance CDs, with mid-ranges so cloaked with a veil as to sound smeared.  They are nearly always compressed with murky transients and a general lifelessness in the overall sound.  There are exceptions where re-masters/re-presses outshine the original issues, but they are exceptions and not the norm.

First or early pressings nearly always have more immediacy, presence and dynamics. The sound staging is wider.  Subtle instrument nuances are better placed with more spacious textures. Balances are firmer in the bottom end with a far-tighter bass. Upper-mid ranges shine without harshness, and the overall depth is more immersive.  Inner details are clearer, the music tends to sound more ‘alive’ and vibrant and you 'hear' what the mixing and mastering engineers wanted you to hear when they first recorded the music.