Thelonious Monk with Rollins & Foster, Warhol Cover 1st Press Mono Prestige 7053
$
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Description
Thelonious Monk with Sonny Rollins and Frank Foster, Mono Prestige 7053 (Side 1) Julius Watkins (frh), Sonny Rollins (ts), Thelonious Monk (p), Percy Heath (b), Willie Jones (d). Recorded NYC, November 13, 1953. (Side 2) Ray Copeland (tp), Frank Foster (ts), Thelonious Monk (p), Curly Russell (b), Art Blakey (d). Recorded at the Rudy van Gelder Studio, NJ, May 11, 1954.
On the dead wax: Inscribed "RVG" (not stamped "Rudy Van Gelder") and "AB" stamp, both sides. Single, original matrix number only. Label: True DG label. First Pressing: Despite the fact that this album has the later, NJ address on it, I am quite certain that it is a true first pressing of the vinyl with just the original 50th Street label removed (used in 1955 & 1956) and replaced by the NJ one (used after 1957), since only 1st pressings of this album have the inscribed "RVG" and the single 7053 matrix number on the dead wax. In addition, none of the original NJ labels are truly DG. More details below.
Vinyl: VG (or, minus Side 2/track 1) VG++... A-Side: Varies between some fine stretches and (perhaps the majority of the side) stretches which have a good supply of scattered, uniformly very low-volume ticks, (many of them barely-audible). I would grade this side as VG+, but to me the side is very, very listenable (and enjoyable) since it didn't have any surface noise, crackling, loud pops or any of the other things that I find really difficult to listen to on an old record. B-Side: The first track is a complete disaster with about 9 consecutive loud clicks (or pops), then after a bit, continual but relatively low-volume clicks. I would either skip the cut. After about 10 seconds into the 2nd cut the rest of the side plays nearly perfectly... easily Excellent after the first cut. Visually, there is a clear mark on the ill-fated first cut, 2nd side. Otherwise, quite a few superficial markings indicating moderate but not excessive playing. These light marks do (and will not) affect playback (see note on visual grading at the end of the page.)
Sound Quality: The sound quality of the A-Side, engineered by the very talented Doug Hawkins, is truly excellent. The B-Side, engineered by the singular Mr. RVG, is just great. An interesting chance to see what RVG brought to a recording session since, as I said, Hawkins was an excellent engineer and did a fine job on this recording. (This, despite the fact that RVG re-mastered the Hawkins side, and thus initialed both sides.)
Covers: Excellent... Cover design by Andy Warhol and Miles Reid. Very substantial cardboard cover. One spot on the spine has a tiny semi-detached piece. There is some age-related spotting or discoloration against the white background of the front & back. Otherwise quite nice with no seam-splits or significant fraying, no ring-wear at all, very clean and the laminated front cover still retains a substantial portion of its gloss and brightness.
Combined shipping is always available with no mark-up--you just pay for what it costs to ship (and of course the more disks the less per record). Packaging includes new audiophile inner sleeve, new outer sleeve, cardboard padding, bubble-wrap and a thick cardboard record box.
Monk on Prestige: Prestige was always dissatisfied with Monk's ability to sell records, no matter how he was packaged. Thus when Riverside's Orrin Keepnews saw the chance to buy out Monk's contract from Prestige (Monk was ready to go) it cost Riverside the princely sum of $108.27! (Monk was the first major player signed by the fledgling Riverside.) Keepnews did a much better job of getting Monk exposure and his third Riverside release Brilliant Corners was Monk's first album to gain him wide recognition outside of the circle of jazz musicians.
The True Release-History of These Sessions: The first, Friday the 13th session (Rollins was in a minor car accident earlier in the day) was first issued as 10" PRLP 166 (engineered by Doug Hawkins). The second session was first released as 10" PRLP 180 (engineered by RVG). When it was put on a 12" LP in 1955 (PR 7053) the whole thing was remastered by Van Gelder and had the 50th Street address on the label. In 1957 the label was changed to the NJ address but there was only one pressing of this release. The second pressing was re-released as PR 7245 under the title Wee See. Remember, we are not talking about the Beatles here. These records were pressed in small numbers but nevertheless hung around for years.
First Pressings on Prestige: What you need to know (and more): The first pressings of 12" Prestige 7000-7140 originally had the 50th Street address, a (truly) DG label and an inscribed (not stamped) RVG. From 7141, first presses have the NJ address, do not have a true DG label, and a stamped "Rudy Van Gelder" instead of the inscribed initials on the dead wax, as well as a stamped "AB." Reprints of Prestige 7000-7140 do not have a DG label and have a second, different matrix number in addition to the original matrix number.
A Note on "Deep Groove" DG labels: For collectors, the only significance of DG labels (sometimes misleadingly called "original DG copies") has to do, (as in the case of this record), with dating the release. The machinery to affix the label to the LP in the early days created a "deep groove" on the label. This machinery was soon replaced by machinery that affixed the label with little (but still noticeable) or no groove. To my knowledge, the "DG" business has absolutely nothing to do with the vinyl itself having deeper grooves, which might, for instance, make it more resistant to damage done by light scratches and such.
You may also want to look at some of the following (shipping is $4.00): (Revised 8/12/12)
Thelonious Monk
Monk--at the Five Spot, 2LP Reissue of Riverside 262 and 279...$19.00.
Monk--Monk, S/T Self-Titled, 1964 Columbia Stereo CS 9091...$12.00.
Monk--With Rollins & Foster, Warhol Cover 1st Press Mono Prestige 7053...starting at $24.00. (auction)
Coltrane (& Garland, Chambers) on Prestige
Coltrane--Soultrane & Traneing In, NM Double-LP Prestige Re-issue...$21.00.
Coltrane--Lush Life, NM+ Mono Prestige 7188 Reprint...$15.00.
Coltrane--NM+ Black Pearls & The Believer Double LP Prestige Reissue...$13.00.
Coltrane--The Last Trane, NM- Prestige 7378 Re-Issue...$8.00.
Coltrane--Plays For Lovers, NM- Prestige PR 7426...$11.00.
Red Garland & John Coltrane--Jazz Junction, NM+ Prestige PR 24023 Double-LP...$15.00.
Some new auctions...
Cannonball Adderley--Self Titled, Original Mono EmArcy...starting at $12.00. (auction)
Tadd Dameron--The Magic Touch, NM Riverside 9419 Reprint w/Evans, Griffin...starting at $8.00. (auction)Joe Farrell--Moon Germs, Exc 1st Press Stereo CTI 6023...starting at $8.00.(auction)
Frank Wess Oliver Nelson--Southern Comfort, Exc 1st Press Mono Prestige...starting at $14.00. (auction)
More from the Great Arrangers--Dameron, Gil Evans, Oliver Nelson, George Russell Dameron & Coltrane--Mating Call, NM+ Mono Prestige 7070 Reprint...$24.00.
Gil Evans--Out of the Cool, New & Factory-Sealed! Rare Original Stereo A-4...$49.00
Oliver Nelson/Dolphy--Blues & Abstract Truth, Exc Reprint Edition w/ Dolphy, Bill Evans...$17.00.
George Russell/ Dolphy--Ezz-thetics, Original Stereo Riverside 9375...starting at $6.95. (auction)
Frank Wess & Oliver Nelson--Southern Comfort, Exc 1st Press Mono Prestige...$32.00.
Miles
Miles Davis--Complete Birth of the Cool, New & Factory-Sealed Capitol Mono...$17.00.
Miles Davis--Self-Titled, Vol. 2 Exc Blue Note Reprint...$14.00.
Miles Davis--Circle in the Round, Exc 2LPs 1st Press Stereo CBS 88471...$16.00.
Bill Evans ..........Early Evans (& George Russell)
Evans--Peace Piece & Other Pieces (incl Everybody Digs BE), 2LPs, Stereo Milestone...$12.00.
Mirage--Third-Stream Jazz, Kenton, Mingus, Russell, Evans, New World Records...$14.00.
Tony Scott & Bill Evans--Golden Moments NM- 1st Press Muse Mono...$16.00.
..........1961-1963
Evans Trio--More From the Vanguard, NM Milestone...$14.00.
Evans--Interplay Sessions, NM- Double-LP, Milestone 47066...$15.00.
Evans--Solo Sessions Vol. 1, Rare & New/SS Milestone LP...$22.00.
..........1965-1967Evans Trio--Trio '65, Excellent 1st Press Verve Stereo...$21.00.
Evans Trio--California Here I Come, NM- 1st Press Stereo Verve Double-LP...$26.00.
..........1969 Evans Trio--Quiet Now, 1st Press Stereo Affinity AFF-73...$19.00. Evans Trio--At the Jazzhouse, 1st Press Milestone 9151...$24.00.Eric Dolphy & Friends Eric Dolphy--Out to Lunch, Exc+ Original Mono Blue Note 4163...starting at $12.00. (auction) Coltrane/Dolphy--Impressions, NM Stereo Impulse A-42 Later Pressing...$14.00. Ornette/ Dolphy--Free Jazz, 2LPs Original Atlantic stereo & mono versions...starting at $14.00. (auction) George Russell/ Eric Dolphy--Ezz-thetics, Original Stereo Riverside 9375...starting at $6.95. (auction ending soon)
Coltrane 1961-1966 Coltrane/Dolphy--Impressions, NM Stereo Impulse A-42 Later Pressing...$14.00. Coltrane--Live at Birdland, NM MCA/Impulse Reissue...$12.00. Coltrane--Live at the Village Vanguard Again, NM- MCA/Impulse Reissue...$12.00.
Ornette Coleman Ornette--Shape of Jazz to Come, Factory-Sealed Original Mono Atlantic1317...starting at $18.00. (auction) Ornette/Eric Dolphy--Free Jazz, 2LPs Original Atlantic stereo & mono versions...starting at $14.00. (auction) Ornette Coleman Trio--Golden Circle Vol 1 Exc+ 1st Press Mono Blue Note 4224...starting at $35.00. (auction) Ornette Coleman Trio--Golden Circle Vol 2 New & SS Original Mono Blue Note 4225...starting at $1.95. (auction)
Free Jazz...
Albert Ayler--New York Eye and Ear Control, New & Factory Sealed ESP-Disk...starting at $17.00. (auction)
Art Ensemble of Chicago--Live at Mandel Hall, NM Double-LP, Delmark...$23.00.Jaki Byard--Experience, with Roland Kirk Original Prestige Stereo...$18.00.
Jaki Byard--Freedom Together, 1st Press Stereo Prestige 7463...$15.00. Mal Waldron--With the Steve Lacy Quintet, Exc. 1st Press (French) America-label Stereo...$19.00.Note on Visual Grading vs Play-Testing A personal and non-professional opinion
It disturbs me that record buyers do not to insist on, or even seem to prefer, play-testing to visual grading. I believe that visual grading (although necessary) is totally insufficient for grading a record.
Why Visual Grading...Some dealers insist that they can do it very accurately (after years of experience, etc)... But I don't believe it. The fact is that play-testing is very time-consuming. It involves not just the actual playing of the record but the preliminary cleaning, which is crucial and time-consuming in itself. For large-scale dealers this is an insurmountable obstacle. Hence the best thing, from their point of view, is to foster the myth that visual grading is fine. It also has the very important added benefit of protecting the seller since if a record looks nice but is full of ticks the seller has a defense—it looked NM- so I graded it NM-.
Why Visual Grading Doesn't Work... One reason visual grading in general can't work is that the quality of the vinyl is invisible to the naked eye. And there was a steady deterioration in the quality of vinyl used from the 1950s to the late 1970s. Instead of pure new vinyl, by the end of the LP era, record producers were using recycled vinyl, old tires or anything else that could be re-processed. Most new records from the 1970s have ticks baked into the vinyl, sometimes a whole lot of them... (In addition, vinyl records became exceedingly thin in the passing years, another problem).
Another Reason Why Visual Grading Doesn't Work... Scratches on the vinyl are, of course, visible and cause consecutive clicks or pops. But low-volume ticks and slight background noise are, by far, the most common defects and it is very, very hard to determine whether a light mark on the vinyl will affect the play-back without listening to the record.
What Marks on the Vinyl Mean and What Buyers Need to Understand...If a seller says that there are various marks on the vinyl but they do not affect play, most buyers immediately downgrade the record. The only conceivable reason for this is that they believe that somehow, with additional playing, the very superficial hairline scratch will become deeper and start to cause clicks. I have seen no evidence to support this view. If one uses a properly-calibrated good-quality cartridge/stylus (set at less than 2 grams) I do not believe that non-sounding marks can “become” clicks or background noise, for the simple reason that the stylus is below the level of the surface defect.
Lack of Information Should Not Be Rewarded ... I have seen this time and again: A visual grader will say “Just superficial paper scuffs” grade it NM- or VG++ and this copy will be preferred to that of the seller who also grades it VG++ but says it plays with occasional ticks and a couple of seconds of low-volume background noise. To me this is pure nonsense. Buyers are paying a premium to a seller for withholding information. The fact is that almost every used record plays with some ticks (and quite a few brand new ones, too). Not knowing that (by not listening to the record) should not be a reason for paying significantly more to a seller.
The Wonderful World of Visual Grading ... Most of the terminology used by visual graders has very little specific meaning. Here is an example from a clearly honest seller, but what could it possibly mean?... “RECORD CONDITION: VG (LIGHT SLEEVE MARKS).” (This record sold for $100 on 17 bids.) On the other hand, you can find innumerable examples of the following: “RECORD CONDITION: NM- (LIGHT SLEEVE MARKS).” What does this imply?
I suppose it implies Caveat Emptor. Comments are welcome...
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