MILES DAVIS “E.S.P.” jazz LP on COLUMBIA 2-eye “360 Sound” orig NM
$
39
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Description
Artist: MILES DAVIS
Title: “E.S.P.”
Label: COLUMBIA ~ CS 9150. Stereo pressing on medium weight vinyl. Label is red with black text, “360 Sound Stereo” in white text, with “2-eye” logo design.
Year: 1965
Matrix numbers:
XSM79818-1B
XSM79819-1B
Personnel:
Miles Davis – trumpet
Wayne Shorter – tenor sax
Herb Hancock – piano
Ronald Carter – bass
Tony Williams - drums
Condition:
DISC: NEAR MINT with 100% of original brilliant gloss, as clean as can be found. Has been played a small number of times and handled with care. Plays beautifully with superb fidelity. Labels are clean. A solid “10” out of 10.
JACKET: Jacket is EXCELLENT. Front artwork is clean and bright, with a few slight traces of ring/shelf wear just starting to appear. Nice seams and spine. Bottom seam has a very small area of chipping (less than 1 inch) at bottom center. Slight wear at corner tips. Reverse is clean with a bit of ring wear. No writing, stickers or cutout indications. Overall a very fine jacket to accompany the superb disc.
Winning bidder will not be disappointed!
Track Listing:
Side One:
- E.S.P. – 5:27
- Eighty-One – 6:11
- Little One – 7:21
- R. J. – 3:56
Side Two:
- Agitation – 7:46
- Iris – 8:29
- Mood – 8:50
Review:
“E.S.P. marks the beginning of a revitalization for Miles Davis, as his second classic quintet – saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams -- gels, establishing what would become their signature adventurous hard bop. Miles had been moving toward this direction in the two years preceding the release of ESP and he had recorded with everyone outside of Shorter prior to this record, but his addition galvanizes the group, pushing them toward music that was recognizably bop but as adventurous as jazz's avant-garde. Outwardly, this music doesn't take as many risks as Coltrane or Ornette Coleman's recordings of the mid-'60s, but by borrowing some of the same theories -- a de-emphasis of composition in favor of sheer improvisation, elastic definitions of tonality -- they created a unique sound that came to define the very sound of modern jazz. Certainly, many musicians have returned to this group for inspiration, but their recordings remain fresh, because they exist at this fine dividing line between standard bop and avant. On E.S.P., they tilt a bit toward conventional hard bop (something that's apparent toward the end of the record), largely because this is their first effort, but the fact is, this difference between this album and hard bop from the early '60s is remarkable. This is exploratory music, whether it's rushing by in a flurry of notes or elegantly reclining in Hancock's calm yet complex chords. The compositions are brilliantly structured as well, encouraging such free-form exploration with their elliptical yet memorable themes. This quintet may have cut more adventurous records, but E.S.P. remains one of their very best albums.”
(courtesy Stephen Thomas Erlewine, allmusic.com.)
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Both the LP and jacket are sandwiched between additional layers of cardboard.
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