HELEN MERRILL wART FARMER+GIL EVANS DREAM OF YOU ORIG'57 EMARCY MONO LP

$

42

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·       HELEN MERRILL with GIL EVANS, ART FARMER, JIMMY CLEVELAND, HANK JONES, OSCAR PETTITFORD AND OTHERS - DREAM OF YOU – ORIGINAL 1957 EMARCY RECORDS MONO LP MG-36078

·       ORIGINAL U.S. PRESSING

·       ORIGINAL BLUE EMARCY LABEL WITH SILVER PRINT AND 'DRUMMER' LOGO

·       DEEP GROOVE PRESSING

·       ONE OF THE MOST COVETED AND COLLECTIBLE JAZZ VOCALISTS (AND FOR GOOD REASON)

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

·       THICK CARDBOARD COVER, AMERICAN STYLE.

·       ORIGINAL LAMINATED COVER

·       CLEAN, WEAR-FREE LABELS

·       THICK, HEAVY VINYL PRESSING

·       MACHINE-STAMPED MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) OF THE RECORD

(►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 thing that set Helen Merrill apart from other '50s jazz singers was her acutely dramatic vocal style. Her earnest phrasing, elongated notes and incandescent tone might even strike the contemporary listener as qualities more appropriate for the Broadway stage than a jazz club. On 1955's Dream of You, though, Merrill found reconciliation, sounding both melodramatic and swinging within Gil Evans' darkly spacious, yet economical arrangements. Suitably, torchy ballads are prominent. On the somewhat grandiose side there's "Where Flamingos Fly" and "I'm a Fool to Want You," which find Merrill in a pensive mood amidst a variety of tempo and timbre shifts. More subdued ground is covered on "I've Never Seen" and "He Was Too Good to Me." Briskly swinging numbers like "People Will Say We're In Love," "By Myself," and "You're Lucky to Me" balance the program and feature the demure, yet fluid delivery Merrill favored on fast numbers. What is most impressive on this date is a group of sultry, medium tempo numbers including "Anywhere I Lay My Hat Is Home," "Just a Lucky So and So," and in particular "A New Town Is a Blue Town." The programmatic quality of Merrill's coyly sensual voice and Evans' slightly askew, bubbling reeds and languid rhythm conjure up dramatic, balmy southern scenes á la Tennessee Williams. In the picturesque arrangements one also hears the seeds of Evans' own future collaborations with Miles Davis. In addition to the first 12 tracks that make up the original Dream of You album, the CD reissue includes numbers from a 1954 session arranged by Johnny Richard which feature ballads in the dramatic Merrill mode like "Alone Together" and "This Is My Night to Cry" in addition to the wistful "How's the World Treating You." If Merrill's distinct combination of June Christy's soaring intensity and Sarah Vaughan's flexibility is something you can not get enough of then indulge in The Complete Helen Merrill on Mercury (1954-1958) which covers her early recording period. If you just want a representative sample of her work at the time then get Dream of You. Even though her collaboration with Clifford Brown is a great recording, this one with Gil Evans shows off more of Merrill's expressive vocal talents due in no small part to the sympathetic and urbane arrangements.

 (EXCERPT FROM AN ONLINE REVIEW BY STEPHEN COOK, 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)          WE GRADE THE VINYL AS EXCELLENT. This is one of those albums that are somewhat difficult to grade. It is somewhere between VG++ and NEAR MINT, just a notch below NEAR MINT. A few light abrasions ARE visible, but they are extremely shallow, superficial  and only moderately visually distracting (nothing significant).For the most part, the vinyl looks impeccable without any MAJOR visual flaws or imperfections. Much of the original luster is intact, and the vinyl shines and sparkles almost like new.

(b)          The record has a "deep groove" (an indent in the label about 1/2-inch from the edge of the label, which on SOME labels is associated with very early or first pressings).

(c)           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!

(d)          The record comes in a hi-grade MFSL PVC inner sleeve, which has - apparently with success - shielded the record from the harmful impact of elements over many years!

(e)           Stereo copies of this album are NOT known to exist.

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

·       COVER (THIS IS THE ORIGINAL, LAMINATED, GLOSSY COVER):

THE COVER IS NICE --- ABOUT VERY GOOD++ (VG++).

The following flaws or imperfections are noted on the cover:

-        The laminated cover has some crystalline sediments and spots under the lamination layer. This is EXTREMELY typical of Emarcy’s 50’s pressing (practically every surviving laminated Emarcy cover has this problem). Namely, the label’s printing facility used cheap glue to affix lamination to the front panels; as the glue aged and solidified it also crystallized, forming unseemly. opaque, “cloudy” spots which dotted and partially obscured the underlying image on the cover; these spots can range from barely noticeable to unbearably oppressive, covering anywhere from 1% to almost 100% of the front cover. This is one of the better-preserved copies of this album we’ve seen, with crystalline residue covering less than 10% of the front cover)

-        The laminated cover has a slight loss (flaking) of lamination along the opening edge (this is a common problem with most laminated 50’s and 60’s covers; lamination is just beginning to peel-off along the opening edge; however, since the underlying layer of the cover is ALSO laminated, the peeled-off spots are only a minor visual distraction

-         Cover has some light ring wear (nothing significant); 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 1 (front side) and 4 (back side)  

-         Back cover has circular tarnish (grayish, dust-covered sections, which closely follow the contour of the record),  probably caused by friction or by rubbing against other covers during the storage. The tarnish is similar in appearance to a common ring wear, but, UNLIKE ring wear, these grayish areas may be possible to clean up with a minor effort and with a right cleansing solution.

-         Cover shows some light yellowing on both sides, apparently from aging   (nothing significant).

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

-         Visible shelf wear noted on the seams

-         Cover has one corner slightly worn / dinged (nothing significant)

NO OTHER IMPERFECTIONS ON THE COVER:

-        No split seams

-        No cut-out (drill) holes.

-        No cut-out corners

-        No saw-marks or indents

-        No writing

-        No stamps

-        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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