STAN GETZ MEETS MULLIGAN N/MINT ORIGINAL VERVE MONO LP

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33

    
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·       STAN GETZ & GERRY MULLIGAN – STAN GETZ MEETS GERRY MULLIGAN – ORIGINAL 1959 VERVE RECORDS MONO LP MG-V-8249 (SECOND VERSION OF THE COVER; ON WHICH GERRY MULLIGAN GETS CREDITED FIRST, STAN GETZ SECOND)

·       ORIGINAL U.S. PRESSING

·       ORIGINAL BLACK VERVE LABEL WITH SILVER PRINT, LARGE T-SHAPED VERVE LOGO, WITHOUT 'DIVISION OF MGM RECORDS' AT THE BOTTOM.

·       DEEP GROOVE PRESSING

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       THICK CARDBOARD COVER, AMERICAN STYLE.

·       CLEAN, 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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When Gerry Mulligan Meets Stan Getz was initially released by Verve in 1958, Norman Granz offered his inspiration for the date, and related comments:

"I've conjectured, as I'm sure other people have, what kind of sounds would come from a meeting between Gerry Mulligan and Stan Getz. Obviously, each has won enough awards on the various jazz polls held throughout the world to cover possibly an entire house wall to wall; obviously, too, each is a master of his instrument and each an important factor in today's azz scene. Without spelling out any further the qualifications of each, I can say that this is the first album, to the best of my knowledge, on which the two have performed as soloists with no other horns.

"Stan picked the rhythm section with Gerry's approval: Lou Levy' on piano; Stan Levey on drums; and Ray Brown on bass, and the rhythm section particularly does well by the soloists. As an added fillip to this album, Mulligan suggested at one juncture that they trade horns, so you find that on side one of the album Getz plays baritone and Mulligan plays tenor; and on the other side they reversed the procedure so that each played his primary instrument - Stan the tenor and Gerry the baritone."

Granz, in arranging the meeting of titans, did not impose restrictions. The two saxists were free to solo at length; there was no competition to clog the communication. The result was a free-wheeling, productive date.

Reviewing the album for Down Beat, Jack Tynan noted that "A Getz-Mulligan meeting on record was, one supposes, inevitable sooner or later. In capturing both saxists for a joint date, in supplying them with a rhythm section of top caliber, Norman Granz has produced a worthwhile jazz album..."

Getz, as Tynan heard him, "gets downright funky at times," and the critic praised the array of cooking performances, "with both saxists soloing in happy, spirited fashion."

Both Getz and Mulligan were well-established as influential jazzmen when this album was recorded, more than five years ago. During that relatively brief period, however, both have prospered, musically and commercially.

Getz spent several years as an expatriate content to live and perform in Europe. His popularity remained constant in this country, despite the fact that he did not appear here in person. A flow of records cut abroad helped, but, basically, the image Getz had established endured, keeping him in the minds of jazz fans. Then, when Getz decided to return, he did so in the manner of a returning hero, welcomed by jazzophiles eager to hear his mellow, touching sound again. And, ultimately, he joined guitarist Charlie Byrd in the Jazz Samba set for Verve, a disc that sent fans into the Bossa Nova camp and paved the way for a successful nation-wide invasion by that music from Brazil. Today, Getz is more in demand than ever. And he is as astute a musician as ever. Strikingly inventive, he can caress a ballad with the kind of taste and artistry few soloists in jazz can match. He is just as adept at cooking ferociously - a quality, as Tynan noted, that keeps matters perking on several tracks in this set.

Mulligan hasn't been idle, either, since this collaborative venture with Getz. When he became impatient with the rewards of working with his own quartet, he formed his Concert Jazz Band (a first-rate ensemble represented by several Verve albums) and toured with it.

The band reflected Mulligan's own personality and music; few bands could have been so lucky. Mulligan's imagination is impressive. As a composer, he creates lasting lines and consistently enticing works. His writing has wit and wisdom. And writing is important to him. As a result, when he doesn't feel like assembling the band for appearances, he can settle back and be a genuinely productive composer. Writing the score for a Broadway musical remains one of his ambitions; it is one he is due to fulfil soon. The gregarious Mulligan, however, never will be content to exist in any tower. Always eager to seize his horn and rush to a session, he is a performer; he thrives on the exchange of ideas that is inherent in any meeting of jazz minds. It is this motivation that helped make the Getz-Mulligan get-together in '58 such an enlightening one. Mulligan, as ever, was more than ready; Getz, comparably prepared, felt the inspiration that such a healthy challenge embodies. And with the support of a vigorous, sensitive rhythm section, the pair prospered.

Fortunately available again, this meeting of giants merits many hearings.

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TO SEE IF WE HAVE OTHER LISTED ITEMS BY STAN GETZ ►  CLICK HERE

THIS IS A NO-RESERVE AUCTION!

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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 is STILL in its original inner, perforated plastic baggy, which has - apparently with success - shielded the record from the harmful impact of elements over many years!

(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)          The record has a "deep groove" (an indent in the label about 1/2-inch from the edge of the label, which on SOME labels is associated with very early or first pressings).

(e)           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++ (VG++).

The following flaws or imperfections are noted on the cover:

-        Cover has a partially split top seam (between 2 and 4 inches  / 5 to 10 centimeters)

-         Cover has some ring wear. 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 (front side) and 5 (back side)

-         Minor shelf wear noted on the seams (nothing significant)

-         Cover has some fraying/wear along the upper seam

-         Cover shows JUST A HINT of yellowing on both sides, apparently from aging.

NO OTHER IMPERFECTIONS ON THE COVER:

-        No cut-out (drill) holes.

-        No cut-out corners

-        No saw-marks or indents

-        No dirt/dust rubbing stains (friction marks caused by rubbing against other covers)

-        No wrinkles or creases

-        No writing

-        No stamps

-        No peel-off marks

-        No stains

-        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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