Jazz A La Bohemia - Randy Weston Trio & Cecil Payne LP MONO Riverside

$

35

LP VG+

Jacket  VG+ (staple marks upper left corner)

biography

by Richard S. Ginell

Placing Randy Weston into narrow, bop-derived categories only tells part of the story of this restless musician. Starting with the gospel of bop according to Thelonious Monk, Weston has gradually absorbed the letter and spirit of African and Caribbean rhythms and tunes, welding everything together into a searching, energizing, often celebratory blend. His piano work ranges across a profusion of styles from boogie-woogie through bop into dissonance, marking by a stabbing quality reminiscent of, but not totally indebted to, Monk.

Growing up in Brooklyn, Weston was surrounded by a rich musical community: he knew Max Roach, Cecil Payne, and Duke Jordan; Eddie Heywood lived across the street; Wynton Kelly was a cousin. Most influential of all was Monk, who tutored Weston upon visits to his apartment. Weston began working professionally in R&B bands in the late '40s before playing in the bebop outfits of Payne and Kenny Dorham. After signing with Riverside in 1954, Weston led his own trios and quartets and attained a prominent reputation as a composer, contributing jazz standards like "Hi-Fly" and "Little Niles" to the repertoire. He also met arranger Melba Liston, who has collaborated with Weston off and on into the '90s. Weston's interest in his roots was stimulated by extended stays in Africa; he visited Nigeria in 1961 and 1963, lived in Morocco from 1968 to 1973 following a tour, and has remained fascinated with the music and spiritual values of the continent ever since. In the '70s, Weston made recordings for Arista-Freedom, Polydor, and CTI while maintaining a peripatetic touring existence -- mostly in Europe -- returning to Morocco in the mid-'80s.

However, starting in the late '80s, after a long recording drought, Weston's visibility in the U.S. skyrocketed with an extraordinarily productive period in the studios for Antilles and Verve. Among his highly eclectic recording projects were a trilogy of "Portrait" albums depicting Ellington, Monk, and himself, an ambitious two-CD work rooted in African music called The Spirits of Our Ancestors, a blues album, and a collaboration with the Gnawa Musicians of Morocco. Weston's fascination with the music of Africa continued on such works as 2003's Spirit! The Power of Music, 2004's Nuit Africaine and 2006's Zep Tepi, The Randy Weston African Rhythms Trio. In 2010, Weston released the live album The Storyteller which featured the then 84-year-old pianist in concert at Dizzy's Club Coca-Cola, as part of Jazz at the Lincoln Center.

All Lps are sight graded

Note: I Do Not Grade inner sleeves, If these are Important to you then you may e-mail me)

Near Mint (NM): A nearly perfect record. There may be one or two small inaudible defects. The record should show no obvious signs of wear. A 45 RPM or EP sleeve should have no more than the most minor defects, such as almost invisible ring wear or other sights of slight handling. An LP jacket should have no creases, folds, seam splits or any other noticeable similar defect. No cut-out holes, either.

Near Mint Minus (NM-): A record that should play mint but has a few slight visible marks. The album will have as much luster as an NM, there just may be some superficial scuffs from the sleeve or very light hairlines that shouldn't be audible. An NM- album cover subjectively fits somewhere in between VG+ and NM.

Very Good Plus (VG+): A Very Good Plus record will show some signs that it was played and otherwise handled by a previous owner who took good care of it. Record surfaces may show some slight signs of wear and may have slight scuffs or very light scratches that don t significantly affect play. Slight warps that do not affect the sound are OK. The label may have some ring wear or discoloration, but it should be barely noticeable. The center hole will not have been misshapen by repeated play. 45 Picture sleeves will have some slight wear, lightly turned-up corners, or a slight seam-split. An LP jacket may have slight signs of wear also and may be marred by a cut-out hole, indentation or corner indicating it was taken out of print and sold at a discount.

Very Good (VG): Many of the defects found in a VG+ record will be more pronounced in a VG disc. Surface noise will be evident upon playing, especially in soft passages and during a song s intro and fade, but will not overpower the music otherwise. Groove wear will start to be noticeable, as will light scratches (deep enough to feel with a fingernail) that will affect the sound. Labels may be marred by writing, or have tape or stickers (or their residue) attached. The same will be true of picture sleeves or LP covers. However, it will not have all of these problems at the same time, just two or three of them.

Good (G), Good Plus (G+): Good does not mean Bad! A record in Good or Good Plus condition can be put onto a turntable and will play though without skipping. But it will have significant surface noise and scratches and visible groove wear. A jacket or sleeve will have seam splits, especially at the bottom or on the spine. Tape, writing, ring wear or other defects will start to overwhelm the subject.

Poor (P), Fair (F): Below good. imperfections will be described.

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2. Lps 9.75

3 Lps 13.00

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5 Lps 25.00

6 Lps 28.00

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Note: Gatefold Lps Count as 2 Lps

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2 LP 18.00

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4 Lps 27.00

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6 Lps 48.00

7 Lps 51.00

8 LPs 55.00

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10 Lps 61.00

11 Lps 64.00

12 Lps 67.00

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