Max Roach Sonny Clark George Duvivier LP MONO Time RecordsIN SHRINK
$
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Description
LP VG+
Jacket NM-
Artist Biography by Chris Kelsey
Few, if any, free jazz saxophonists approached music with the same degree of intellectual rigor as Sam Rivers; just as few have managed to maintain a high level of creativity over a long life. Rivers played with remarkable technical precision and a manifest knowledge of his materials. His sound was hard and extraordinarily well-centered, his articulation sharp, and his command of the tenor saxophone complete. Rivers' playing sometimes had an unremitting seriousness that could be extremely demanding, even off-putting. Nevertheless, the depth of his artistry was considerable. Rivers was as substantial a player as avant-garde jazz ever produced.
Rivers' father was a church musician, touring with a gospel quartet. Rivers was raised in Chicago and then Little Rock, Arkansas, where his mother taught music and sociology at Shorter College. He began taking piano and violin lessons at about the age of five. He later played trombone, before finally settling on the tenor. Early favorites were Don Byas,Coleman Hawkins, Lester Young, and Buddy Tate. Rivers moved to Boston in 1947, where he studied at the Boston Conservatory of Music and, later, Boston University. There, he played in Herb Pomeroy's little big band, which, in the early '50s, also featured such players as Jaki Byard, Nat Pierce, Quincy Jones, and Serge Chaloff.
Rivers left school in 1952. He moved to Florida for a time, then returned to Boston in 1958, where he again played withPomeroy. Rivers became active in the local scene. He formed his own quartet with pianist Hal Galper, and played on his first Blue Note recording session with pianist/composer Tadd Dameron. In 1959, he began playing with 13-year-old Tony Williams. It was about this time that Rivers became involved in the avant-garde. He developed a free improvisation group with Williams. Perhaps befitting his educational background, Rivers approached free jazz from more of a classical perspective, in contrast to the style of his contemporary, Ornette Coleman, who came out of the blues.
In the early '60s, Rivers became involved with Archie Shepp, Bill Dixon, Paul Bley, and Cecil Taylor, all members of the Jazz Composer's Guild. In 1964,Rivers moved to New York. That July, Miles Davis hired Rivers on Tony Williams' recommendation. The group played three concerts in Japan; one was recorded and the results released on an LP. In August of 1964, following the brief experience with Davis, Rivers played on Life Time (Blue Note),Williams' first album as a leader. Later that year, Rivers led his own session for Blue Note, Fuchsia Swing Song, which documented his inside/outside approach. Rivers led four more dates for Blue Note in the '60s. In the middle part of the decade, he also recorded with Larry Young, Bobby Hutcherson, and Andrew Hill. In 1969, he toured Europe with Cecil Taylor in a band that also included Andrew Cyrille and Jimmy Lyons.In 1970, Rivers -- along with his wife, Bea -- opened a studio in Harlem where he held music and dance rehearsals. The space relocated to a warehouse in the Soho section of New York City. Named Studio Rivbea, the space became one of the most well-known venues for the presentation of new jazz. Rivers' own Rivbea Orchestra rehearsed and performed there, as did his trio and his Winds of Change woodwind ensemble. Rivers' trio of the time was a free improvisation ensemble in the purest sense. The group used no written music whatsoever, relying instead on a stream-of-consciousness approach that differed structurally from the head-solo-head style that still dominated free jazz. Much of this early- to mid-'70s music was documented on the Impulse! label.
In 1976, Rivers began an association with bassist Dave Holland. The duo recorded enough music for two albums, both of which were released on the Improvising Artists label. Opportunities to record became more scarce forRivers in the late '70s, though he did record occasionally, notably for ECM; his Contrasts album for the label was a highlight of his post-Blue Note work. In the '80s, Rivers relocated to Orlando, Florida, where he created a scene of his own. Rivers formed a new version of his Rivbea Orchestra, using local musicians who made their living playing in the area's theme parks and myriad tourist attractions. From the '80s into the new millennium, Riversrecorded albums on his own Rivbea Sound label and other imprints as well, including a pair of critically acclaimed big band albums for RCA. Sam Riversdied of pneumonia on December 26, 2011; he was 88 years old.All Lps are sight graded
Note: I Do Not Grade inner sleeves, If these are Important to you then you may e-mail me)
RECORD GRADING Based On Goldmine Grading Standards:
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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SHIPPING TO CANADA Multiple LP Shipping Rates In USD
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2. Lps 13.00
3 Lps 15.00
4 Lps 17.00
5 Lps 26.00
6 Lps 29.00
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Note: Gatefold Lps Count as 2 Lps
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2 LP 20.00
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7 Lps 54.00
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