RED RECORDS VPA 142, ITALY, 1978
Condition: Cover/ Very Good +   Record/  Near Mint
AMG Biography by Ron Wynn

A gifted and versatile bassist, Stafford James has played bebop, hard bop, free and R&B material since emerging in the late '60s working with Monty Alexander, Albert Ayler and Sun Ra. He's equally capable on acoustic or electric, and has backed both jazz and R&B singers. James studied at the Chicago Conservatory and Mannes College in the late '60s and early '70s. Following his stints withAlexander, Ayler and Ra, he played with Melba Moore, Roy Ayers,Garry Bartz, Rashied Ali, Betty Carter, Art Blakey, Al Haig, Barry Harris, Andrew Hill, Andrew Cyrille and Chico Hamiliton at various points during the early and mid-'70s. James appeared with Bartz at the Montreux Jazz Festival. He worked with Dexter Gordon andWoody Shaw in the late '70s as well as John Scofield. James reunited with Shaw in the early '80s, then played with Philly Joe Jones andDameronia, Slide Hampton, Cecil Payne and Jimmy Heath. He also recorded as a leader from the mid-'70s through the '80s, heading quartets, quintets, a trio and a string and percussion ensemble. James has recorded for Horo (Italy) and Red, a subsidary of Black Saint/Soul Note. Though he currently has no dates available on CD, he can be heard on reissues by Ayler, Shaw and others. James' sessions on Red and Horo are available by import from mail-order places.

Stafford James: Bass / Frank Strozier: Alto Sax / Louis Hayes: Drums / Harold Mabery: Piano

twelve for four (s. james) 5:01 / soul eyes (m. waldron)  6:05 / softly as in the morning sunrise (s. romberg) 7:30

del samba  (s. james) 5:19 / yellow days (carillo-bernstein) 8:09 / impressions (j. coltrane) 5:35

All winning bids above $100.00 that go to non US winners will be required to pay registered mail postage rates plus $3.00 shipping & handling. 


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GOLDMINE GRADING MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect. NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly. VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors. VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc. GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork. POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.