HARRY PARTCH w/THE GATE 5 ENSEMBLE PETALS VERY RARE SEALED ORIG'66 CRI STEREO LP

$

30

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·       HARRY PARTCH -  AND ON THE SEVENTH DAY THE PETALS FELL IN PETALUMA – ULTRA-RARE  ORIGINAL 1966 CRI ("COMPOSERS RECORDINGS INC.")  MONO LP CRI-213

·       ORIGINAL U.S. PRESSING

*** STILL SEALED GUARANTEED ORIGINAL FIRST PRESSING ***

·       THE THICKNESS OF THE VINYL, THE APPEARANCE AND THE CONSTRUCTION OF THE COVER, LABEL’S LOGO AND OTHER PERIPHERAL ELEMENTS OF THE COVER, ARE ALL PERFECTLY CONSISTENT WITH THE ORIGINAL, FIRST PRESSING OF THIS TITLE.

·       TWO “BREATHE” (AIR) HOLES NOTED ON THE SHRINK WRAP

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

·       ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)

·       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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This is the most extended all-instrumental work by American just intonation microtonal music guru Harry Partch. The haiku-like title may sound metaphysical but has a prosaic explanation. In 1962, Partch returned to California after six years in the Midwest. Returning to his roots in the seventh year was, he felt, like a sabbatical. He was getting tired of frequent moving: "The spectacle of me and two tons of musical effects [his collection of unique hand-built instruments designed to play in his own scale system] wandering around the country is becoming almost comical."

He had to find a spacious and cheap studio and living space, and his former landlord in Sausalito, California in September 1962 put him on to a vacated chick hatchery in the northern Marin County town of Petaluma. Partch had been thinking over some instrumental studies preparatory to writing the large stage work Delusion of the Fury. When he visited the Pioneer Hatchery building, the walkway leading to the place was " ... strewn with petals -- roses, camellias, and many others" and the title of the new work came to him. "It was the time of falling petals, and this music followed."

The 34-minute work was designed to cope with Partch's main problem with writing works for ensembles. He had to attract a group of committed musicians who could be relied upon to put in the time, learn how to play the instruments, learn how to play the written parts for the music (written in special notation systems), develop the ear to play music where there are many "extra" notes besides the familiar 12 they had learned, and finally to learn their parts.

To minimize this work for all concerned, Partch conceived Petals as an accretionary work. It is built in 34 verses. The first 23 of them are duets or trios. Then there is a series of ten verses in which the earlier verses are paired. For instance, for Verse 24, both Verse 1 (zymo-xyl and crychord) and Verse 2 (surrogate kithara and bass marimba) are played simultaneously to make a quartet. For the concluding Verse 34, three prior verses (21-23) are played simultaneously to make a sonorous ensemble of eight instruments. Partch and some loyal supporters (notably Danlee Mitchell) recorded most of Petals in 1964 while the premises were, literally, being bulldozed around them, begging the operators to stop for a minute for a take. Often the duets are played by Partch on both parts, through overdubbing. The recording was resumed in San Diego in 1966, and the tapes were painstakingly overdubbed for a CRI records release.

This results in a useful introduction of the sound of Partch's instruments. But Petals suffers a bit from its form. At one-minute intervals the music comes to a stop, and half the time resumes in the same tempo and with the same harmonic patterns. Although the rhythms are wonderfully irregular, this predictability offsets the fascination of the wonderful sounds of Partch's instruments.

 (EXCERPT FROM AN ONLINE REVIEW BY JOSEPH STEVENSON, 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)          THE ALBUM IS STILL FACTORY SEALED AND IS BELIEVED TO BE PERFECTLY MINT. Please note: sealed items are assumed to be mint and are sold as-is, as we have no way of inspecting them. For our policy on still sealed records ►click here (PLEASE READ BEFORE PLACING A BID).

(b)          The record is  apparently 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)           Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·       COVER

COVER IS NEAR MINT, STILL SEALED AND COVERED IN ITS ORIGINAL ►SHRINK WRAP; (A PIECE OF SHRINK WRAP IS MISSING); THE SHRINK WRAP  HAS SEPARATED ALONG ABOUT 40% OF THE OPENING SIDE AND THE BOTTOM SEAM, BUT THE ALBUM IS STILL VISIBLY SEALED

The following flaws or imperfections are noted on the cover:

-        Cover has a small 1966 date stamp on the back panel

-         Cover shows JUST A HINT of yellowing on back side, apparently from aging.

-         Cover has a light "wrinkle" (crease)  in one of the corners.   (nothing significant)

-         Cover has a few tiny wrinkles along the bottom seam

NO OTHER IMPERFECTIONS ON THE COVER:

-        No split seams

-        No ring wear

-        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 writing

-        No tearing: no chips, dents or nicks on the seams

-        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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POSTAGE & SHIPPING:

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OUR REFUND POLICY :

WE OFFER UNCONDITIONAL MONEY-BACK GUARANTEE WITHIN 30 DAYS FROM THE RECEIPT OF THE MERCHANDISE, NO QUESTIONS ASKED (THE BUYER PAYS FOR THE RETURN POSTAGE); Still sealed items MUST be returned sealed in order to be eligible for a refund Some restrictions apply. Please read our complete refund policy before placing a bid. ►Click here  for the full text of our policy

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