Sam Rivers A NEW CONCEPTION VAN GELDER Blue Note NY

	€		19
	$		22

Achtung! Ebay zwingt mich, kostenlos zu versenden, was ich für eine Frechheit halte. Ich versende per Hermes und das für 4 Euro inkl. Versand in einem stabilen Plattenpäckchen. Bieten Sie daher nicht, wenn Sie damit nicht einverstanden sind. Danke!
 
Sam Rivers: A New Conception LP/Vinyl


Original BLUE NOTE New York Liberty Records, Inc. release, BST 84249 BLP 4249
Musicians are: Sam Rivers, tenor sax, soprano sax and flute; Hal Galper, piano; Herbert Lewis, bass, Steve Ellington, drums.

Pressingdetails: label state 'New York USA' ; run out deadwax have VAN GELDER stamp
Cover details: Blue Note Records Inc., 43 West 61st St., New York, N.Y. 10023

Record condition: VG+
Cover condition: VG; seam wear, corner crease; stains on rear cover, wear on rear cover.

Allmusic.com says:
The title of A New Conception refers to Sam Rivers' ingenious interpretations of standards on this record. Rivers treats the songs -- such familiar items as "When I Fall in Love," "I'll Never Smile Again," "That's All," "What a Difference a Day Makes," and "Secret Love" -- with respect, but he doesn't treat them as museum pieces. He knows that if the songs are to remain fresh, they need to be heard in different ways, and he skillfully opens up each composition to contemporary avant-garde techniques. Rivers and his supporting trio of pianist Hal Galper, bassist Herbert Lewis, and drummer Steve Ellington gradually ease each number into more adventurous territory, slowly shifting into exploratory instrumental sections, slyly varying the melodic themes, or adding shaded dissonant textures. It's challenging music that remains accessible, since it reconfigures familiar items in new, intriguing ways. The sheer skill in Rivers' arrangements once again confirms his large, unfortunately underappreciated, talent.

Biography

Few, if any, free jazz saxophonists have approached music with the same degree of intellectual rigor as Sam Rivers; just as few have managed to maintain a high level of creativity over a long life. Rivers plays with remarkable technical precision and a manifest knowledge of his materials. His sound is hard and extraordinarily well-centered, his articulation sharp, and his command of the tenor saxophone complete. Rivers' playing sometimes has an unremitting seriousness that can be extremely demanding, even off-putting. Nevertheless, the depth of his artistry is considerable. Rivers is as substantial a player as avant-garde jazz has produced.

Rivers' father was a church musician, touring with a gospel quartet. Rivers was raised in Chicago and then Little Rock, AR, where his mother taught music and sociology at Shorter College. He began taking piano and violin lessons at about the age of five. He later played trombone, before finally settling on the tenor. Early favorites were Don Byas, Coleman Hawkins, Lester Young, and Buddy Tate. Rivers moved to Boston in 1947, where he studied at the Boston Conservatory of Music and, later, Boston University. There, he played in Herb Pomeroy's little big band, who, in the early '50s, also featured such players as Jaki Byard, Nat Pierce, Quincy Jones, and Serge Chaloff. Rivers left school in 1952. He moved to Florida for a time, then returned to Boston in 1958, where he again played with Pomeroy. Rivers became active in the local scene. He formed his own quartet with pianist Hal Galper, and played on his first Blue Note recording session with pianist/composer Tadd Dameron. In 1959, he began playing with 13-year-old Tony Williams. It was about this time that Rivers became involved in the avant-garde. He developed a free improvisation group with Williams. Perhaps befitting his educational background, Rivers approached free jazz from more of a classical perspective, in contrast to the style of his contemporary, Ornette Coleman, who came out of the blues. In the early '60s, Rivers became involved with Archie Shepp, Bill Dixon, Paul Bley, and Cecil Taylor, all members of the Jazz Composer's Guild. In 1964, Rivers moved to New York. That July, Miles Davis hired Rivers on Tony Williams' recommendation. The group played three concerts in Japan; one was recorded and the results released on an LP. In August of 1964, following the brief experience with Davis, Rivers played on Lifetime (Blue Note), Williams' first album as a leader. Later that year, Rivers led his own session for Blue Note, Fuchsia Swing Song, which documented his inside/outside approach. Rivers led four more dates for Blue Note in the '60s. In the middle part of the decade, he also recorded with Larry Young, Bobby Hutcherson, and Andrew Hill. In 1969, he toured Europe with Cecil Taylor in a band that also included Andrew Cyrille and Jimmy Lyons. In 1970, Rivers -- along with his wife, Bea -- opened a studio in Harlem where he held music and dance rehearsals. The space relocated to a warehouse in the Soho section of New York City. Named Studio Rivbea, the space became one of the most well-known venues for the presentation of new jazz. Rivers' own Rivbea Orchestra rehearsed and performed there, as did his trio and his Winds of Change woodwind ensemble. Rivers' trio of the time was a free improvisation ensemble in the purest sense. The group used no written music whatsoever, relying instead on a stream-of-consciousness approach that differed structurally from the head-solo-head style that still dominated free jazz. Much of this early- to mid-'70s music was documented on the Impulse! label.

In 1976, Rivers began an association with bassist Dave Holland. The duo recorded enough music for two albums, both of which were released on the Improvising Artists label. Opportunities to record became more scarce for Rivers in the late '70s, though he did record occasionally, notably for ECM; his Contrasts album for the label was a highlight of his post-Blue Note work. In the '80s, Rivers relocated to Orlando, FL, where he created a scene of his own. Rivers formed a new version of his Rivbea Orchestra, using local musicians who made their living playing in the area's theme parks and myriad tourist attractions. The '80s and '90s found Rivers recording albums on his own Rivbea Sound label, as well as a pair of critically acclaimed big band albums for RCA. 

Non-EU bidders could pay with Paypal.
Deutschland und EU: Ueberweisung möglich.

Shipping fee:
EU = 9 EURO
World = 15 Euro

Goldmine Standard

The Goldmine Grading System:

Mint (M)
Absolutely perfect in every way - certainly never played, possibly even still sealed. Should be used sparingly as a grade, if at all.

Near Mint (NM or M-)
A nearly perfect record.
The record should show no obvious signs of wear. A 45 RPM or EP sleeve should have no more than the most minor defects, such as almost invisible ring wear or other signs of slight handling.  An LP jacket should have no creases, folds, seam-splits or any other noticeable similar defect. No cut-out holes, either. And of course, the same should be true of any inserts, such as posters, lyric sleeves, and the like.  Basically, an LP in Near Mint condition looks as if you just got it home and removed the shrink wrap.

Very Good Plus (VG+)
A Very Good Plus record will show some signs that it was played and otherwise handled by a previous owner who took good care of it.
Record surfaces may show some slight signs of wear and may have slight scuffs or very light scratches that don't affect one's listening experience. Slight warps that do not affect the sound are OK.  The label may have some ring wear or discoloration, but it should be barely noticeable. The center hole will not have been misshapen by repeated play.
Picture sleeves and LP inner sleeves will have some slight wear, turned-up corners, or a slight seam-split. An LP jacket may have slight signs of wear also and may be marred by a cut-out hole, indentation or corner indicating it was taken out of print or sold at a discount.
In general, if not for a couple of minor things wrong with it, this would be Near Mint. All but the most mint-crazy collectors will find a Very Good Plus record highly acceptable.
 
Very Good (VG)
Many of the defects found in the VG+ record will be more pronounced in a VG disc. Surface noise will be evident upon playing, especially in soft passages and during a song's intro and fade, but will not overpower the music otherwise. Groove wear will start to be noticeable, as well as light scratches (deep enough to feel with a fingernail) that will affect the sound.  Labels will be marred by writing, or have tape [TOL] or stickers [SOL] (or their residue) attached. The same will be true of picture sleeves or LP covers [TOC] or [SOC]. However, it will not have all of these problems at the same time, only two or three of them.
 
Good (G), Good Plus (G+)
Good does not mean Bad! A record in Good or Good Plus condition can be put on a turntable and will play through without skipping. But it will have significant surface noise and scratches and visible groove wear (on a styrene record, the groove will be starting to turn white). A jacket or sleeve will have seam-splits, especially at the bottom or on the spine. Tape, writing, ring wear or other defects will start to overwhelm the object.

Poor (P), Fair (F)
The record is cracked, badly warped, and won't play through without skipping or repeating. The picture sleeve is water damaged, split on all three seams and heavily marred by wear and writing. The LP jacket barely keeps the LP inside it. Inner sleeves are fully seam split, crinkled, and written upon.


Viele weitere LP's, CD's, Bücher usw. in meinen anderen Auktionen! Jazz, Avantgarde, Garage, Freakbeat, Fuzz, Yé Yé, Punk, Wergo, Elektra Nonesuch, Blue Note usw.

Schönen Dank für Ihr Interesse und viel Vergnügen beim Bieten!

Das hier ist ein Privatverkauf. Mit der Abgabe eines Gebotes erklären Sie sich ausdrücklich damit einverstanden, auf die ihnen gesetzlich zustehende Garantie/Gewährleistung bei Gebrauchtwaren zu verzichten. Keine Rücknahme des Artikels. Bieten Sie bitte nicht, wenn Sie mit dieser Regel nicht einverstanden sind.