JOHN COLTRANE & KENNY BURRELL+ PAUL CHAMBERS RARE ORIG'58 Mono 1st Press RVG DG

$

100

JOHN COLTRANE AND KENNY BURRELL with PAUL CHAMBERS, TOMMY FLANNAGAN AND JIMMY COBB  - THE SAME-TITLED 1958 ALBUM ("JOHN COLTRANE AND KENNY BURRELL ") - ORIGINAL 1958 NEW JAZZ MONO LP NJLP-8276

·       ORIGINAL U.S. PRESSING

·       ORIGINAL PURPLE NEW JAZZ LABEL WITH SILVER PRINT

·       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)

·       DEEP GROOVE PRESSING (ON ONE SIDE ONLY)

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

Amazing 1st press copy of this jazz classic. 

The cover has tape all around the edges.i believe because it came apart so it was taped up( see pics)

The record is VG+

·       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)

(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.)

For his final Prestige-related session as a sideman, John Coltrane (tenor sax) and Kenny Burrell (guitar) are supported by an all-star cast of Paul Chambers (bass), Jimmy Cobb (drums), and Tommy Flanagan (piano). This short but sweet gathering cut their teeth on two Flanagancompositions, another two lifted from the Great American Songbook, and a Kenny Burrell original. Flanagan's tunes open and close the album, with the spirited "Freight Trane" getting the platter underway. While not one of Coltrane's most assured performances, he chases the groove right into the hands of Burrell. The guitarist spins sonic gold and seems to inspire similar contributions from Chambers' bowed bass and Coltrane alike. Especially as the participants pass fours (read: four bars) between them at the song's conclusion. The Gus Kahn/Ted Fio Rito standard "I Never Knew" frolics beneath Burrell's nimble fretwork. Once he passes the reigns to Coltrane, the differences in their styles are more readily apparent, with Burrell organically emerging while Coltrane sounds comparatively farther out structurally. Much of the same can likewise be associated to Burrell's own "Lyresto," with the two co-leads gracefully trading and incorporating spontaneous ideas. While not as pronounced, the disparity in the way the performance is approached is a study in unifying and complementary contrasts. The delicate "Why Was I Born" is one for the ages as Burrell and Coltrane are captured in a once-in-a-lifetime duet. Together they weave an uncanny and revealing sonic tapestry that captures a pure and focused intimacy. This, thanks in part to the complete restraint of the ensemble, who take the proverbial "pause for the cause" and sit out. What remains is the best argument for the meeting of these two jazz giants. The performance can likewise be located on the various-artists Original Jazz Classics: The Prestige Sampler (1988) and Playboy Jazz After Dark (2002) and is worth checking out, regardless of where one might find it. In many ways the showpiece of the project is Flanagan's nearly quarter-hour "Big Paul." The pianist's lengthy intro establishes a laid-back bop-centric melody with his trademark stylish keyboards perfectly balancing Chambers and Cobb's rock-solid timekeeping. Coltrane's restraint is palpable as he traverses and examines his options with insightful double-time flurries that assert themselves then retreat into the larger extent of his solo. Those interested in charting the saxophonist's progression should make specific note of his work here.

 If you have any questions feel free to ask, I'm also very unfamiliar with records and record grading so I think I'm grading them right and a little more on the low side to be safe 

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