HERBIE HANCOCK+FREDDIE HUBBARD EMPYRIAN ISLES RARE ORIG'64 BLUE NOTE MONO LP EAR

$

192

    
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·       HERBIE HANCOCK with FREDDIE HUBBARD, RON CARTER AND ANTHONY WILLIAMS  –  EMPYREAN ISLES  –  ORIGINAL 1964 BLUE NOTE MONO LP BLP-4175

·       ORIGINAL U.S. PRESSING

·       ORIGINAL WHITE AND BLUE 'BLUE NOTE' LABEL WITH 'NEW YORK, USA'  ADDRESS ON THE LABEL

·       The record has a ►Rudy Van Gelder’s name or  his initials (RVG) clearly stamped or hand-etched in the trail-off vinyl (dead wax)

·       The record has an "EAR" symbol (a pretzel-like engravure about 1/4-inch/6mm long) in the trail-off vinyl, which on SOME jazz labels is associated with very early or first pressings)

·       EXTREMELY RARE MONO PRESSING, MANY TIMES RARER THAN STEREO

·       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.

·       CLEAN, WEAR-FREE LABELS

·       THICK, HEAVY VINYL PRESSING

·       MONO version of this album has NEVER been available on legitimate Compact Disc or in any other digital format.

(►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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Selection: probably the most conventional of the three unconventional tracks, eschewing the fourth, the popular foot-tapper Cantaloupe Island (a family lineage to Watermelon Man, and Blind man, Blind Man). Tony Williams sparkles while Hancock’s percussive chords and rhythmic explorations are driven with seemingly unlimited energy. Hubbard’s bright masterful cornet punctuates space that would normally be occupied by the tenor saxophone. A curtain raiser for more good things to come.

Artists

Freddie Hubbard (cornet) Herbie Hancock (piano) Ron Carter (bass) Tony Williams (drums) recorded Rudy Van Gelder Studio, Englewood Cliffs, NJ, June 17, 1964

Music:

AllMusic sets the tone: “Hancock pushes at the borders of hard bop, finding a brilliantly evocative balance between traditional bop, soul-injected grooves, and experimental, post-modal jazz. Hancock’s four original concepts are… designed to push the limits of the band and of hard bop.”

Great!  Our critical vocabulary now enriched with the concept of post-modal jazz. In truth, some tracks are better suited to concentrated listening behind dark glasses and, judging from some online reviews, the album has a strong following among the goatee-stroking demographic. …Yeah…

The liner notes draw attention to the unusual quartet format, a  rhythm section with cornet, which makes a virtue of the absence of a tenor and conventional melodies. Given the quartet has two “percussionists” – Anthony William’s drums and Hancock’s piano, the titles are essentially a series of rhythmic canvases which allow the soloist of the moment to go where the mood takes them, while the “rhythm section” more or less do the same. Musically it doesn’t get a lot better than this for 1964.

More than could be said of the rest of the liner notes, which are devoted to new age rambling about the mystical forces of Empyrean Isles by one Nora Kelly, an early prototype Kate Bush :

“Empyrean Isles, four glittering jewels, beyond the dreams of men…. Myth and legend clothe these Isles in mystery, for they are elusive and said to vanish at the approach of ordinary mortals….”

She continues in the same vein on Hancock’s Maiden Voyage:

“The sea yet holds her secrets, and it will be many a long year ere man plumbs her depths, ravaging her beauty, imprisoning her creatures, usurping her throne with a savage hand.”

Ummm …Great!  Post-poetry

 (ONLINE REVIEW REPRODUCED COURTESY OF ► LONDON JAZZ COLLECTOR BLOG)

My Point of View and Inventions and Dimensions found Herbie Hancock exploring the fringes of hard bop, working with a big band and a Latin-flavored percussion section, respectively. On Empyrean Isles, he returns to hard bop, but the results are anything but conventional. Working with cornetist Freddie Hubbard, bassist Ron Carter, and drummer Tony Williams -- a trio just as young and adventurous as he was -- Hancock pushes at the borders of hard bop, finding a brilliantly evocative balance between traditional bop, soul-injected grooves, and experimental, post-modal jazz. Hancock's four original concepts are loosely based on the myths of the Empyrean Isles, and they are designed to push the limits of the band and of hard bop. Even "Cantaloupe Island," well-known for its funky piano riff, takes chances and doesn't just ride the groove. "The Egg," with its minimal melody and extended solo improvisations, is the riskiest number on the record, but it works because each musician spins inventive, challenging solos that defy convention. In comparison, "One Finger Snap" and "Oliloqui Valley" adhere to hard bop conventions, but each song finds the quartet vigorously searching for new sonic territory with convincing fire. That passion informs all of Empyrean Isles, a record that officially established Hancock as a major artist in his own right.

 (EXCERPT FROM AN ONLINE REVIEW BY STEPHEN THOMAS ERLEWINE, 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 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)

(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)           The record has a ►Rudy Van Gelder name, or  his initials (RVG) stamped or hand-etched in the trail-off vinyl (dead wax). On SOME  Jazz labels (Blue Note, Savoy, Regent, Prestige, Impulse, Verve…) this stamp signifies highly professional masterings either done by - or  personally authorized by - the legendary engineer himself.

(d)          The record has an "ear" symbol (a pretzel-like engravure about 1/4-inch/6mm long) in the trail-off vinyl, which on SOME  jazz and blues labels (such as Blue Note; Folkways; Period, etc…) is associated with very early or first pressings). The 'ear' symbol is actually a letter 'P' in italic script, denoting a pressing made by Plastylite Corporation’s pressing plant.

(e)           Mono pressing of this title is much rarer, and by far more  preferable to its stereo counterpart. We think that the mix is more natural, humane, "organic" and that the mixes are somewhat different than on the stereo version. We estimate that stereo copies of this album outnumber mono pressings by a ratio of at least 10:1.

(f)            The record comes in the original stock inner sleeve.

(g)          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)

-        Cover has a partially split bottom seam (between 1 and 2 inches  / 2.5 to 5 centimeters)

-        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 3  (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 yellowing on back side, apparently from aging

-        Cover has a few tiny wrinkles along the spine

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

-        Cover has some fraying/wear along the upper seam

-        Visible shelf wear noted on the bottom seam and spine

-        Cover has all four corners slightly worn / dinged (nothing significant)

NO OTHER IMPERFECTIONS ON THE COVER:

-        No cut-out (drill) holes.

-        No cut-out corners

-        No saw-marks or indents

-        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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