Super Rare & Sublime Sax of TONY COE Tony Basement on UK Columbia 1967

$

252

 

ASTRAL DREAM RECORDS

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PLEASE CONSIDER THAT IN THESE EBAY AUCTIONS I USE A STRICT RECORD COLLECTOR MAGAZINE GRADING SYSTEM THAT CAN'T DISAPPOINT ANYONE BUT THIS DOESN'T MEAN THAT ,FOR EXAMPLE,  A VG+ COVER OR A VG+ VINYL  IT'S EQUIVALENT TO "BAD CONDITIONS" BUT SIMPLY THAT MY GRADE IT'S STRICT AND PROBABLY EQUIVALENT TO AN EX OF SOMEONE ELSE WITH  NOT A SO STRICT GRADE. I HAVE SOLD IN THESE AUCTIONS EX- RECORDS THAT WERE SURELLY M- COPIES BUT I PREFERE TO BE STRICT TO AVOID ANY DISAPPOINTEMENT BECAUSE I TAKE GREAT CARE OF MY REPUTATION.



graded VG+/EX for a strict Record Collector magazine grading system


label:  first pressing with black blue label in great shape without a mark with just a sample copy sticker on it but easilly removable if you need change the truth.
cover: the cover it's a super classic fascinating example with textured flipback structure. The Black background it's prone to the wear and also this copy  suffer for a light beginning of ring because the storage without plastic outer sleeve. On the clean white back cover there are 2 small writings: the mono prefix and a CP, there's also the tracks timing wrote with a pencil hence easilly removable with a rubber if you think so. A VG+ grade it's the more appropiate ... I think at least.
vinyl:The vinyl playing it's perfect maybe he have palyed a couple of times or so...a strong EX.
review: Mixing jazz with strings has always been a ticklish business, inclined to prove that even heroes like Duke Ellington have their weak points. Most jazz arrangers, in fact, produce the kind of thing that usually turns up on a film sound-track. But there have been exceptions. One was Eddie Sauter's scoring on Stan Getz's LP "Focus"; another can be found on this record, where David Mack has devised some dry, splendidly un-lush settings which are performed—beautifully, faultlessly—by the Lansdosvnc String Quartet. Also in attendance were a standard rhythm section, Bill Le Sage on vibes (he takes some dainty solos), Moe Miller on French horn, and Tommy Whittle helping out on second tenor sax. Perhaps it should be made clear right away that this LP sometimes spills over—especially Baby Doll and Ghost Of Yesterday—into a genre that might be called mood music, yet nearly every track is rewarding. And Tony Coe plays as well as I have ever heard him do on record. In the past I've sometimes thought he clung a trifle too tenaciously to the example of Paul Gonsalves, sidling through chord changes by the same sort of routes that the Ellington tenor saxophonist does; here, however, although the Gonsalves influence is always perceptible, Coe sounds very individual, especially in Baby Blue (the Stan Tracey tune) and in the sequence of controlled yet boiling twelve-bar choruses on Tony's Basement....very rare really so Don't miss!




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KEYWORDS: Progressive,Underground, Psychedelic, Psych, Psychedelia, Acid Folk, Folk, Prog, Vertigo,Harvest, Island, Deram, Dandelion, Nephenta, Major Minor, Kraut Rock,  Pilz, Ohr,Basf, Brain, Philips,Kuckuck,Bacillus, Zebra,Metronome, Beat, Folk, Jazz, Blues, Don Rendell, Norma Winstone, John Surman, Mike Westbrook, Alan Skidmore, Neil Ardley, John Surman, John Taylor, Michael Garrick, Ian Carr, Paul Gonsalves, Tubby Hayes, Stan Tracey, Harold McNair, Graham Collier, Kenny Wheeler, Joe Harriott, Tubby Hayes, Henry Lowther, Michael Gibbs, Dick Morrisey, Terry Smith, Gordon Beck, Tony Oxley, Howard Riley, Mike Taylor.