RY COODER JAZZ from Mobile Fidelity MFSL 1-085 LP NM The HOLY GRAIL

$

213

NO RESERVE

SHIPS TO U.S. and CANADA ONLY.

I AM FORCED TO RELIST THIS ITEM DUE TO THE FACT THAT THE LAST BUYER REQUESTED INTERNATIONAL SHIPPING.

If you are reading this, I'm sure you know how rare and valuable this record is.

One of the most coveted titles by the most acclaimed audiophile label in history. This is the one. MFSL 1-085 Ry Cooder Jazz. Half speed mastered from the original master tapes and pressed on the finest virgin vinyl.

COVER:
I would rate the cover as a VG+ (Goldmine Standards) due to a few areas that white has rubbed through the black printing (see photos). There's a little bit of edge wear on the corners. Included is the original printed insert with liner notes.

RECORD:
The Record is stunning, glossy, flawless NM (Visually Graded Goldmine Standards). One side has a single spindle mark across the label/hole (see photo). Breathtaking sonics and just a great, great album. If you can keep your toes from tapping thru this one there's something wrong with you. Ultra rare and out of print for nearly 30 years. I've stored this record and sleeve in plastic. The record itself has been stored in the original Mobile Fidelity Sound Lab rice paper/plastic sleeve used for all of Original Master Recordings. These are the same type of sleeves as the Diskeeper  Audiophiles. There's also a small factory sticker on the sleeve that says "FIRST"

This one has been well cared for. The previous owner was obviously a very meticulous person as evidenced by a very  small notation under some advertising copy on the liner notes that states "Cleaned 5-3-87" (See photo)

This record will be packed securely to prevent damage.

Arranged and Conducted by Joseph Byrd.

A:  Big Bad Bill Is Sweet William Now

   Face To Face That I Shall Meet Him

   The Pearls / Tia Juana

   The Dream

   Happy Meeting In Glory

B:  In A Mist

   Flashes

   Davenport Blues

   Shine

   Nobody

   We Shall Be Happy

This album includes 11 tracks and includes David Lindley Red Callender, Earl Hines, Oscar Brashear, and many others playing with him

Beginning with his self-titled debut in 1970, Ry Cooder's records seemed to be as much history lesson as they were entertainment. Not because Cooder was trying to club you over the head with this stuff; he simply gravitated to great songs, no matter what the era or genre. Released in 1978, Jazz seems to be his first conscious attempt at a concept album, in the historical sense. Here he pays homage to some of the early tunes and masters of jazz, ranging from the late 1800s through the "coon songs" of the early part of the next century, to the ragtime and "Spanish" music of Jelly Roll Morton, and the sophistication of cornetist Bix Beiderbecke. The only living artist (at the time of release) who's represented here is the great Bahamian guitarist Joseph Spence, who recorded from the '50s through the '80s, and whose syncopated style was extremely influential in Cooder's own development as a guitarist. Spence's sacred songs are presented here in string and brass band arrangements that emphasize the Caribbean connection between his music and Morton's habaniera pieces. The complexity of the material on Jazz, as well as the arrangements by Joseph Byrd, dictate that this is Cooder's most polished and orchestrated effort to date. Whereas in the past, even at their most removed, Cooder's records usually kept at least one foot in rock & roll or blues, Jazz can, at times, lack some of that fire and be almost bookish in its approach. Still, there is enough excitement in the music's intricacies and Cooder's beautiful, fluid playing to forgive the politeness of some of the performances. From the informative liner notes by Ry Cooder himself to the brilliant compositions, Jazz is, at the very least, educational. But, a little time spent with this music and you'll see why it was and continues to be relevant, as well as beloved.