PAUL DESMOND w/GERRY MULLIGAN BLUES IN TIME RARE 1963 VERVE MONO LP MINT
$
48
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WE CURRENTLY HAVE NEARLY 500 LISTED ITEMS
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· GERRY MULLIGAN AND PAUL DESMOND – BLUES IN TIME ('BLUES IN TIME' IS A RETITLED SECOND PRESSING WITH A DIFFERENT COVER OF THE ALBUM ORIGINALLY RELEASED IN 1958 UNDER THE TITLE 'MULLIGAN-DESMOND QUARTET' AS VERVE/CLEF SERIES MONO LP MGV-8246) - VERVE MONO LP V-8478
· GENUINE U.S. PRESSING
· VERY EARLY PRESSING CIRCA 1962/63 ON BLACK VERVE LABEL WITH SILVER PRINT AND LARGE T-SHAPED VERVE LOGO
· THIS IS NOT AN IMPORT, RECORD CLUB RELEASE OR A COUNTERFEIT PRESSING.
· THICK CARDBOARD COVER, AMERICAN STYLE.
· ORIGINAL "TEXTURED" (CRUDE FINISH) COVER.
· BEAUTIFUL, WEAR-FREE LABELS
· THICK, HEAVY VINYL PRESSING
(►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)
(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you’ll get. GUARANTEED!)
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Three years after Gerry Mulligan initially sat in with the Dave Brubeck Quartet, the baritone saxophonist arrived at a point where he could perform alongside Brubeck's alto saxophonist, Paul Desmond, for this much anticipated session. When legal issues, wranglings with producer Norman Granz, and the question of which record label would subsidize and release this album were resolved, the two saxophonists went ahead to produce a delightful program of standards and originals where their more playful sides could fully blossom. The wonderful interaction between Mulligan's burly but agile horn and the ultimate smooth -- but in this case animated and energized -- sax of Desmond is more than just magical, and makes for a fluid, jaunty, delicious combination sure to please even the most jaded or stone-eared music listener. Weaving in and out of improvised phrases, the two sure sound like they are having a ball during Desmond's compositions -- the friendly and carefree discourse of "Blues in Time," the bop vehicle with its jaundiced title "Battle Hymn of the Republican," and "Wintersong" with its subdued blues-based theme where the alto is featured while the bari observantly sits on the side and comments on occasion. Of the three pieces written by Mulligan, one is quintessential in "Line for Lyons," a classic melody and enduring standard enhanced by the harmonic richness of the horns playing together -- it's a joy hearing their tones and styles mesh beautifully. "Standstill" and "Fallout" have as much merit as any of Mulligan's witty charts: the former a fun, melodic bop tune; the latter showcasing more of the harmonic compatibility of the two saxophonists. The lone popular standard, "Body and Soul," is mostly Mulligan pining on the age-old lover's plea, with Desmond listening as if to be convinced. Drummer Dave Bailey and bassist Joe Benjamin are along for the ride in this typical Mulligan pianoless quartet, doing their yeoman's work and letting the co-leaders have their spotlight. This is truly a fine example of modern mainstream jazz, another example from that definitive year of 1957, and though it's sadly a one-shot, it's a document thankfully preserved that should be treasured by all fans of jazz.
(EXCERPT FROM AN ONLINE REVIEW BY MICHAEL G. NASTOS, ALL MUSIC GUIDE /ALLMUSIC.COM/)
This is the first recorded collaboration of baritone saxophone great Gerry Mulligan and the witty alto saxophonist Paul Desmond. Despite hardly any preparation for these recording sessions, the two men complement one another's playing beautifully, as both of them were highly melodic improvisers. Desmond brought three originals to the sessions: the driving "Blues in Time," the soft ballad "Wintersong" (which is based on the chord changes to "These Foolish Things"), and "Battle Hymn of the Republican" (which is actually a complex reworking of "Tea for Two"). Mulligan's contributions include his earlier hit "Line for Lyons," "Stand Still" (based on "My Heart Stood Still"), and the Latin-tinged "Fall Out" (taken from "Let's Fall in Love"). (…) Bassist Joe Benjamin and drummer Dave Bailey provide excellent rhythmic support throughout this highly recommended album.
(EXCERPT FROM AN ONLINE REVIEW BY KEN DRYDEN, ALL MUSIC GUIDE /ALLMUSIC.COM/)
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· CONDITION:
· RECORD
(IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we grade records under the strong, diffuse room light or discrete sunlight)
(a) WE GRADE THE VINYL AS NEAR MINT. Some VERY LIGHT AND SUPERFICIAL abrasions – mostly sleeve scuffs - are (barely) visible, but are probably inaudible, and do not affect visual integrity or beauty of the vinyl. The original luster is very much intact, and the vinyl shines and sparkles almost like new.
(b) The record comes in the original stock inner sleeve.
(c) The record is pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!
(d) Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!
· COVER
THE COVER IS NICE --- ABOUT EXCELLENT OR VERY GOOD+++.
The following flaws or imperfections are noted on the cover:
- Minor (cigarette?) stain noted on the top seam (less than ¼ square inch in size)
- Cover has some light ring wear (nothing significant); On the scale from 1 to 10 (1 being the least, and 10 being the most severe), we assess the severity of ring wear as 3
- Back cover has a few yellowish dust speckles scattered here and there (these tiny spots are not overly obtrusive or distracting)
- Cover shows some light yellowing on back side, apparently from aging (nothing significant).
- Visible shelf wear noted on the seams
- Cover has two corners slightly worn / dinged / bent (just a beginning of the split seam)
NO OTHER IMPERFECTIONS ON THE COVER:
- No cut-out (drill) holes.
- No cut-out corners
- No saw-marks or indents
- No wrinkles or creases
- No writing
- No stamps
- No peel-off marks
- No mold or mildew spots
- No stickers or labels
- No water damage
- No razor marks, scratches, pressure marks, lines, streaks, or cuts.
- No warping
- No wax, glue, paint or liquid drops on the cover
- No glue traces or wax residue.
- No bar codes
- No RIAA stamps or stickers.
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