PAUL CHAMBERS/FREDDIE HUBBARD GO VEE JAY 1014 1st PRESS MONO MAROON DG JAZZ LP

$

160

PAUL CHAMBERS/FREDDIE HUBBARD~GO~VEE JAY 1014~1st PRESS MONO MAROON DG JAZZ LP PAUL CHAMBERS/FREDDIE HUBBARD~GO~VEE JAY 1014~1st PRESS MONO MAROON DG JAZZ LP

Paul Chambers ?– Go
Vee Jay Records ?– VJLP 1014

ORIGINAL FIRST PRESSING OF THIS JAZZ CLASSIC FROM 1959 - 59 YEARS AGO!!
DEEP GROOVE PRESSING WITH MAROON VEE JAY LABELS!!
COVER IS IN VG++ CONDITION WITH WEAK SEAMS BUT NO SPLITS.
THERE IS A NAME IN PEN WRITTEN ON THE BACK.
VINYL IS VG++.
IN SPITE OF ITS APPEARANCE, THE ALBUM PLAYS BEAUTIFULLY WITH VIRTUALLY NO SURFACE NOISE OR OTHER ISSUES!
THERE ARE A FEW CLICKS/POPS DURING PARTS OF SIDE TWO, MOST NOTICEABLE IN "EASE IT".
MATRIX #s: K8-OP 9858-1D A1; K8-OP 9859-1

GORGEOUS MONO SOUND!!

YOU WILL BE HARD-PRESSED TO FIND ANOTHER ORIGINAL COPY IN AS GOOD A SHAPE AS THIS!


The first of two Vee Jay label dates by the acclaimed modern jazz bassist Paul Chambers is a fine exercise in hard bop, split between showcasing his compositions and famous standards. Alto saxophonist Cannonball Adderley and trumpeter Freddie Hubbard are on the front line, perhaps for the only time in their storied careers, and work well for the most part. Pianist Wynton Kelly and either drummers Philly Joe Jones or Jimmy Cobb complete the quintets. The advantage in buying this reissue is that the second CD is comprised exclusively of outtakes from the originally issued tracks, and many of them have extended solos. Of the covers, "There Is No Greater Love" features a chuckling and cajoling Adderley, very happy for the fortune smiling on him, while "Just Friends" has the two horns playing this chestnut pretty much straight, with counterpointed stop-start techniques chirping at the rhythm section, and a young Hubbard offering his best solo. "I Got Rhythm" brings Cobb to the team, as a modal base from Kelly and Chambers buoys the wailing horns. Of the originals, Hubbard and Adderley sound mismatched on the 6/8 to 3/4 calypso-swing "Julie Ann," where their harmonics don't quite synch up. Their teamwork pays off royally during "I Heard That" and the classic hard bopper with Cobb "Ease It," where the tempo persists, but the horns grow quieter and quieter in mezzo piano range to near nothingness -- the epitome of cool. There's another classic here, as "Awful Mean" is emotionally neither, but instead cures Adderley's brief once-through melody statement into a vintage shuffle. The alternate take of this one is two-and-a-half minutes longer. "I Heard That" is called a "remake" though the original is just fine, and the second "remake" of the ballad "Dear Ann" (one of three attempts included) extends Chambers on his arco bowed bass melody, both pieces adding a ramped uptempo. This recording and 1st Bassman offer different aspects of Chambers as a leader, with the latter album having him take on more responsibility as a lead melodicist. After having played with the game changing bands of Miles Davis and John Coltrane, Chambers died far too young ten years hence in January of 1969, but left behind a memorable 15-year legacy, well represented by this recording where he was in his early prime.


Awful Mean     
Just Friends     
Julie Ann     
There Is No Greater Love     
Ease It     
I Got Rhythm


Credits

    Alto Saxophone – Julian "Cannonball" Adderley
    Bass – Paul Chambers (3)
    Cover – Don Bronstein
    Drums – Philly Joe Jones* (tracks: A1), Jimmy Cobb (tracks: A2 to B3)
    Liner Notes – Dick Martin
    Piano – Wynton Kelly
    Recording Supervisor – Sid McCoy (2)
    Trumpet – Freddie Hubbard