JIMMY SMITH LEE MORGAN TINA BROOKS SERMON RARE ORIG'58 BLUE NOTE MONO LP 63d EAR
$
25
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Description
WE CURRENTLY HAVE MORE THAN 200 LISTED ITEMS
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· JIMMY SMITH with TINA BROOKS, LEE MORGAN, LOU DONALDSON, GEORGE COLEMAN, KENNY BURRELL, EDDIE McFADDEN, ART BLAKEY AND DONALD BAILEY – SERMON - ORIGINAL 1958 BLUE NOTE MONO LP BLP-4011
· ORIGINAL U.S. PRESSING
· ORIGINAL WHITE AND BLUE 'BLUE NOTE' LABEL WITH '63RD STREET., NEW YORK', ADDRESS ON THE LABEL
· DEEP GROOVE PRESSING
· 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)
· 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)
· 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)
· ORIGINAL LAMINATED COVER
· 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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When Jimmy Smith exploded onto the jazz scene in 1956, he changed everything about the way the organ was used and perceived in jazz. His first two years of recording were mind-bogglingly prolific, producing 13 albums. Three marathon jam sessions during this period produced some of his finest early work, including The Sermon! Smith displays both a youthful fire and a musical wisdom beyond his years throughout the album. Whether blazing through hard bop tunes like "Confirmation" and "Au Privave" (both Charlie Parker compositions) or gently caressing the ballad "Lover Man," Smith constantly proves himself the most inventive organist of the bop generation. In moving beyond the classic organ trio format, Smith takes the organ into new areas, and trading solos with the likes of Lee Morgan and Lou Donaldson, he makes it plain that his is an individual voice worthy of its eventual place in the jazz canon. A special treat here is the tenor work of the great, underrated Tina Brooks.
(EXCERPT FROM AN ONLINE REVIEW BY ALL MUSIC GUIDE /ALLMUSIC.COM/)
TO SEE IF WE HAVE OTHER LISTED ITEMS BY THIS GROUP OR ARTIST ► CLICK HERE
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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) CAUTION! The vinyl is only GOOD+ TO GOOD++, with multiple, numerous, scuffs which are BOTH visible AND audible. The record plays with bearable BUT AUDIBLE surface noise and some pops and clicks. The record plays without skipping throughout. This record WAS play-graded.
(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 Plastilite Corporation’s pressing plant.
(e) 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).
(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 ABOUT VERY GOOD+ (VG+)
The following flaws or imperfections are noted on the cover:
- A visible water stain affects about 90% of the back panel (VISIBLE ON BACK SIDE ONLY); there is no structural damage to the cover, and both cardboard base and paper slick are intact, however, the stain is visible
- 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.
- Cover has some visible fraying/tattering on the bottom seam and spine.
- Cover has all four corners slightly worn / dinged
- Cover has a partially split spine (between 2 and 4 inches / 5 to 10 centimeters)
- Cover has a partially split bottom seam (between 2 and 4 inches / 5 to 10 centimeters)
- Cover has a small original price sticker, which may be possible to remove with a little effort (we did not attempt to)
- Cover has a few tiny wrinkles along the spine
- Cover shows some light yellowing on both sides, apparently from aging.
- 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
- Cover has some tiny, faint, barely visible writing on its back side
NO OTHER IMPERFECTIONS ON THE COVER:
- 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 stamps
- No mold or mildew spots
- 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 :
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