Top English Jazz lp GRAHAM COLLIER SEPTET Deep Dark Blue Centre Deram UK 1967

$

144

 

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.

Record Collector Magazine Grading System MINT The record itself is in brand new condition with no surface marks or deterioration in sound quality. The cover and any extra items such as the lyric sheet, booklet or poster are in perfect condition. Records advertised as Sealed or Unplayed should be Mint.

EXCELLENT The record shows some signs of having been played, but there is very little lessening in sound quality. The cover and packaging might have slight wear and/or creasing.

VERY GOOD The record has obviously been played many times, but displays no major deterioration in sound quality, despite noticeable surface marks and the occasional light scratch. Normal wear and tear on the cover or extra items, without any major defects, is acceptable.

GOOD The record has been played so much that the sound quality has noticeably deteriorated, perhaps with some distortion and mild scratches. The cover and contents suffer from folding, scuffing of edges, spine splits, discolouration, etc.

FAIR The record is still just playable but has not been cared for properly and displays considerable surface noise; it may even jump. The cover and contents will be torn, stained and/or defaced.

POOR The record will not play properly due to scratches, bad surface noise, etc. The cover and contents will be badly damaged or partly missing.

BAD The record is unplayable or might even be broken, and is only of use as a collection-filler.



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


label:  The label it's the collectable deep grooved one pressed until the half of 1968. It's in very nice shape ...a full EX in my opinion.
cover: the cover it's a front laminated ones. It's in really great shape except for a removing sticker tear on the back just over the title. Because this defect the cover it's easilly VG+ considering also a couple of light creases on the front lamination.
vinyl: it's easilly an EX because there's not visible marks or scuffs and plays perfectelly.
review: this is an appropiate review I meet surfing on the web:"Among the first British jazz albums that really rocked my boat, Graham Collier’s early 67 debut masterpiece DDBC is certainly among my all-time faves. Actually its splendid artwork did entice me to jump on this album in a used-vinyl store, at a time when I was not entirely convinced I wanted to head more conventional jazz genres, outside the JR/F vein and some Coltrane works. Indeed the trumpet with a guitar head in its centre and the keyboard notes as trumpet piston is one of the most brilliant jazz artwork ever, and it allowed me to find something to admire while I soaked in the jazz. Of course the personnel on the present album was definitely the second implacable argument: Karl Jenkins, Phil Lee and John Marshall were definitely the wide-open baits. Note that back then, Wheeler, Beckett and Lowther (not present here) were unknown to this writer, but nowadays their presence in an album line-up triggers automatically my curiosity.
Don’t get me wrong, this wasn’t a cinch or a shoe-in, quite the opposite. Coming from a much faster JR/F realm, this relatively slow-paced jazz with some almost-standard twist took some time to sink in yours truly’s thick skull… and still nowadays I have to be in a mood for it. A very 50’s-like Blue Walls opens the album, and it actually doesn’t help often (too Gil Evans-y for me), so I often skip and start with the slower but more dramatic Miklos where Wheeler’s flugelhorn, Jenkins’ sax and Lee’s guitar develop some very interesting climates (much more modern for 67), but “you ain’t seen nuthin’ yet”!! Hirayochi (bless you!! ;o))) Suite is just content of mixing the two genres just explored, thus provoking a need or craving for more of the precedent hors d’oeuvre. That track seems to prefer an older Mingus spirit, laced with some pre-fusion Miles. Closing the A-side is that Crumblin’ Cookie returns a bit on the Evans territory but the ascending three-note riff is rather cool.
It’s mostly the flipside that does it for me: the opening Jenkins-played oboe of Conversations is the warning that some dramatics are on the way: underlined by Lee’s guitar and Aaron’s flute, we’re engaged into certain distraught, but soon transformed by the flute and flugel’s lines, leading Beckett’s trumpet into a slightly Spanish-sound. Superbly slow stuff, really!! Of course, “le cloud du spectacle” is the 13-mins+ title track, a sort of dramatic epic, filled with some Morricone-type f ambiances, especially with Wheeler’s trumpet. Just like the previous intense moments on the DDBC album, it’s when the music is at its slowest that it becomes really enthralling, and in this case, Collier’s bass is certainly enhancing the solemnity, Lee’s guitar is adding some tension, underlining Wheeler’s
Awesome stuff, really!!! Anyway, Collier would go on to greater things with the spectacular follow-up Down Another Road, but it’s definitely all started with a good half of the Deep Dark Blue Centre, which expression came from Hoagy Carmichael’s “ I don’t mind what they do with jazz, as long as they keep the deep dark blue centre”. And the least we can say is that Collier certainlt managed it successfully with the present" ...it's rare now so don't miss!



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