LARRY YOUNG w/JOE HENDERSON+ELVIN JONES UNITY RARE ORIG'65 BLUE NOTE MONO LP EAR

$

202

    
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·       LARRY YOUNG with JOE HENDERSON, ELVIN JONES and others – UNITY – ORIGINAL 1965 BLUE NOTE RECORDS MONO LP BLP-4221

·       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)

·       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)

·       THICK, HEAVY VINYL PRESSING

·       CLEAN, WEAR-FREE LABELS

·       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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On Unity, jazz organist Larry Young began to display some of the angular drive that made him a natural for the jazz-rock explosion to come barely four years later. While about as far from the groove jazz of Jimmy Smith as you could get, Young hadn't made the complete leap into freeform jazz-rock either. Here he finds himself in very distinguished company: drummer Elvin Jones, trumpeter Woody Shaw, and saxman Joe Henderson. Young was clearly taken by the explorations of saxophonists Coleman and Coltrane, as well as the tonal expressionism put in place by Sonny Rollins and the hard-edged modal music of Miles Davis and his young quintet. But the sound here is all Young: the rhythmic thrusting pulses shoved up against Henderson and Shaw as the framework for a melody that never actually emerges ("Zoltan" -- one of three Shaw tunes here), the skipping chords he uses to supplant the harmony in "Monk's Dream," and also the reiterating of front-line phrases a half step behind the beat to create an echo effect and leave a tonal trace on the soloists as they emerge into the tunes (Henderson's "If" and Shaw's "The Moontrane"). All of these are Young trademarks, displayed when he was still very young, yet enough of a wiseacre to try to drive a group of musicians as seasoned as this -- and he succeeded each and every time. As a soloist, Young is at his best on Shaw's "Beyond All Limits" and the classic nugget "Softly as in a Morning Sunrise." In his breaks, Young uses the middle register as a place of departure, staggering arpeggios against chords against harmonic inversions that swing plenty and still comes out at all angles. Unity proved that Young's debut, Into Somethin', was no fluke, and that he could play with the lions. And as an album, it holds up even better than some of the work by his sidemen here.

 (EXCERPT FROM AN ONLINE REVIEW BY THOM JUREK, 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)          Minor writing (previous owner's name) noted on one of the record labels

(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 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.

(e)             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.

(f)            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 5:1.

(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:

-        A light, faint water stain affects about 10% of both  panels (front and back); there is no structural damage to the cover, and both cardboard base and paper slick are intact, however, the stain is faintly visible

-         Cover has a partially split top seam (between 6 and 8 inches  /15 to 20 centimeters); This split seam was delicately taped by the previous owner with a piece of transparent scotch tape

-         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)

-         Cover shows some light yellowing on both sides, apparently from aging.

-         Cover has some writing on its back side (name of the previous owner written in blue ballpoint pen, about 1 x 1/4 inches in size)

-         Cover has a visible wrinkle (crease) in the cardboard base on the front panel

-         Cover has a few tiny wrinkles along the spine

-         Minor shelf wear noted on the top and bottom seams (nothing significant)

-         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.

NO OTHER IMPERFECTIONS ON THE COVER:

-        No cut-out (drill) holes.

-        No cut-out corners

-        No saw-marks or indents

-        No stamps

-        No peel-off marks

-        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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