LLOYD McNEILL ORIG US Asha 1969 V. CLEAN RARE SOUL JAZZ
$
164
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Description
Ultra rare US 1969 jazz lp "Asha" by The Lloyd Mcneill Quartet. Label:ASHA-ASHA 1-Stereo. Nearly impossible to find lp. Cover is beautiful M-, seams and corners all very sharp and clean, one tiny wrinkle keeping it from absolute mint. Disc is also an incredible M-, one hint of a paper scuff, not affecting play.
Winner pays $5.00 1st Class/Priority Mail or $3.00 book rate. Overseas bidders are welcome, please add $11 for airmail or $6 for surface mail. PayPal (including credit cards), money orders and personal checks (must clear) are accepted as payment.
Some comments about the artist:
"The first thing to know about Lloyd McNeill is that his are the best soul-jazz flute LPs. The second thing to know is he is one of those incredible, more-sensitive-than-most people who excels at every artistic idiom and endeavor; making wonderful music is just part of his flowing creativity. A professor (at Rutgers University, earlier Dartmouth), he has much to say about music and creativity as well as an impeccable gift for saying it...sensibly. McNeill's writings on his musical experiences provide invaluable documents of "the period" (late 1960s-1970s) as well as a rare glimpse at the joy of a master.
McNeill has played with jazz legends --Andrew White (his longtime collaborator/producer), Eric Dolphy, Sabu Martinez, Mulate Astetke, among many others-- and he has had a significant hand in the arts scene of Washington, D.C. The major galleries of art, including those of the Smithsonian, sponsored multi-media "happenings" that soared far above the hippie caricature of acid rock with light show. During the first flowering of post-Civil Rights, African-American culture, the Lloyd McNeill Quartet's improvisitory, simultaneuous jazz and large-scale painting "happened" while a lucky, perhaps unsuspecting public drunk it in.
McNeill believes his influences and their results in his art, music, and poetry are inseparable and mutually reinforcing. Time spent with Picasso in Cannes, 1965 led to new expressions in all three, for instance. And when one brushes against a force such as Picasso, just the idea of "meeting Picasso" has a certain momentum, never mind the inevitable casting of rays of a different kind of light. Canvas, vinyl, the stage, paper, and books of poetry offer a few key imprints of McNeill, and McNeill consistently pays tribute to many illustrious peers.
There are six albums, all of which were produced and kept entirely under the artist's control. Each title surpasses anything you think of in flute on the major labels, even Blue Note. The Black Jazz label may be roughly similar in style, but Asha and Baobab are wholly Lloyd McNeill. And the records reflect none of the usual external trends from the decade in which they were recorded; all sound like 1971 rather than 1979. The final record even reprises the first (the exotic, broodingly moody "Asha"), and the sound throughout remains somewhat interchangeable and timeless. But each record has its own themes and currents, and even improvisation has its identifying signatures and fingerprints.
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