MILES DAVIS VOL 2 ORIG BLUE NOTE 1502 JAZZ LP RVG EAR LEXINGTON AVE FLAT EDGE
$
232
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Description
MILES DAVIS~VOL 2~ORIG BLUE NOTE 1502 JAZZ LP~RVG~EAR~LEXINGTON AVE~FLAT EDGE!!
Product Description
MILES DAVIS "VOLUME 2" BLUE NOTE 1502EXTREMELY RARE ORIGINAL BLUE NOTE JAZZ LP FEATURING MILES DAVIS. HORACE SILVER, JJ JOHNSON, PERCY HEATH AND ART BLAKEY. DEEP GROOVE PRESSING! MONO! "RVG" AND "EAR" IN DEAD WAX! 767 LEXINGTON AVE ADDRESS ON THE COVER AND LABELS! HEAVYWEIGHT FLAT EDGE PRESSING!!
COVER IS IN VG+ CONDITION WITH A PARTIAL 4" SPLIT ALONG THE TOP EDGE AND A SPLIT ALONG THE BOTTOM EDGE WHICH RUNS ALMOST TO THE RIGHT CORNER. THERE ARE DENTS/TEARS ALONG THE RIGHT EDGE. VINYL IS IN VG+ CONDITION WITH SCUFFS AND SCRATCHES. LIKE MOST BLUE NOTE PRESSINGS FROM THE PERIOD, IT PLAYS VERY WELL WITH ONLY LIGHT SURFACE NOISE AND OCCASIONAL POPS/CLICKS.
Like Miles Davis, Vol. 1, this set features arrangements in the order that they were recorded. (Vol. 2 contains the second Blue Note session, while Vol. 1 focused on the first and third.) This 1953 date was the most inspired, overtly beboppish of Davis' three Blue Note sessions -- an ambitious showcase for modern jazz's greatest composers (J.J. Johnson, Ray Brown, Bud Powell, Jimmy Heath, Walter Fuller, and Dizzy Gillespie), and a remarkable rhythm section (drummer Art Blakey, bassist Percy Heath, and the obscure pianist Gil Coggins). A dynamic front line of Davis, trombonist J.J. Johnson, and the bassist's brother Jimmy Heath on tenor saxophone, gives each tune big-band weight and texture. J.J. Johnson's lilting "Kelo" and tragic "Enigma" proceed from the orchestral tradition of Birth of the Cool, and his taut, velvety, tenor trombone counterpoint contrasts nicely with Davis' burnished mid-range and brassy cry. Tenor man Jimmy Heath seems to take the Basie and Gillespie big bands as the jumping-off point for his jazz classic "C.T.A.," and ends his own solo with an affectionate nod to Lester Young. Davis' ballad turn on "I Waited for You" is one of his most alluring performances, while his effortless swing on "C.T.A." and "Ray's Idea" sums up his innovations in blues phrasing. But his solo and arrangement on "Tempus Fugit" are simply transcendent. This Bud Powell anthem for modernists generates a challenging set of symphonic variations, driven along by the emotional intensity of Art Blakey. The joy with which Davis and Blakey morph between swing and Afro-Cuban rhythms, blues, and bop phrasing, is what jazz is all about.
The image included with the auction is a scan of the actual item but, due to size limitations of the scanner, the edges of the item may have been cropped.
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MINT = like new or near new with only one or two small insignificant defects, a 9 or better on a 1-10 scale
EXCELLENT = Would be Near Mint, except for a couple of light hairlines or scuffs, which do not affect play
VG++ = still a very nice record with all or nearly all of its original gloss but may have a few more light, surface marks, hairlines, needle tracks or the like which should not materially affect play
VG+ = a nice, but used record that may have a series of light scuffs or scratches. It probably plays with a few pops, but has no serious problems.
VG = a well-used record that still should sound OK when played, but may have moderate surface noise, pops, etc.
VG- = a very well-worn record that plays through without skipping, but will do until a better copy comes along.
Good = not actually good at all but probably will play through but with much in the way of surface noise, pops, crackles, etc. Still, will have no cracks, chips or the like
Fair = you are getting this record just to own but not to play
Poor = the sky's the limit, generally I will discard a record this bad (and sell the cover, jacket or sleeve alone) unless the label holds some particular interest
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