DOUG HAMMOND SPACES ULTRA-RARE ORIGINAL '82 IDIBIB PRIVATE PRESSING LP VERY NICE

$

360

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WE CURRENTLY HAVE  MORE  THAN 200 LISTED ITEMS

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·       DOUG HAMMOND – SPACES - ORIGINAL 1982 STEREO PRESSING ON A SMALL, PRIVATE PRESSING ON IDIBIB LABEL  - IDIBIB STEREO LP

·       ORIGINAL U.S. PRESSING

·       ORIGINAL GOLD IDIBIB LABELS WITH BLACK PRINT

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

·       ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)

·       CLEAN, WEAR-FREE LABELS

·       FAIRLY THICK VINYL PRESSING On the scale from 1 to 10 (1 being the least thick, and  10 being the thickest), we assess the thickness of the vinyl as 7.

(►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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Drummer Doug Hammond’s 1982 album Spaces was recorded on the day of Thelonious Monk’s funeral, a cosmic coincidence that meant pianist Kirk Lightsey had to pop in and out of the session to attend the proceedings. To consider it now, a psychic loop seems to connect the two events: at Crossfire Studio, Hammond and his players were recording an album showcasing the continued innovation of jazz, while at St. Peter’s Church, the public mourned the death of one of the genre’s most beloved innovators.

The ‘60s and ‘70s were heady, impressive times for creativity within jazz, and while some of the freest expressions of this unbound force would never be commercially viable, it’s also true that the decade saw shifting winds. As traditionalists took the reigns, charged expression became even less tolerated. Nevertheless, the innovation didn’t cease, as if it even could. Hammond’s Spaces is proof positive that true believers were still doing the damn thing—and not just doing the thing, but motivating some of the original innovators in the process. Case in point: the album opens with a suite, broadly called “Spaces and Things,” split up into three movements. Hammond premiered this piece at Amherst College, where one Max Roach was in attendance. After the performance, Roach exclaimed that he was inspired; it made him want to start touring again.

Little surprise that this was the case, as those tracks are furiously wonderful, buoyed on this recording by the appearance of avant-garde saxophonist/flutist Byard Lancaster, who Hammond wanted to work with not because of his avant-garde leanings, but because of his melody and lyricism, qualities which are immediately evident on the album. (His chaotic rhapsody is still there though, it’s just not the star of the show—or doesn’t need to be.) But let’s go back for a moment: as it is now decades later, and we are lucky that the current revival of interest in cult jazz figures means that some of their lesser-known recordings, of which this is one, are now seeing the light of day.

Spaces is a compelling trip with an upbeat mood that never ceases looking forward. Jazz fans will know Hammond from Reflections in the Sea of Nurnen, on which he was co-leader with David Durrah, released on Tribe, Detroit’s seminal but short-lived ‘70s black-owned jazz collective. Spaces exists in a similarly spiritual, ahead-of-its-time vein, without the trippiness of Reflections’ synths. Hammond’s drums carefully hold down the rhythm while also filling in the spaces between the freeness of the solos.

A favorite track is “Rizz Bizz,” featuring a solo acknowledged by Hammond as one of the most difficult he ever played. Hammond’s incandescent drumming ripples through the sonic environment, a beat-upon wildfire that lights up the path ahead as it simultaneously destroys that which it leaves behind, before Steve Coleman’s alto sax jumps back in to remind us that never mind the destruction, it is all creation, and it is powerful, and it is ours, and the spirit is real, and to realize it has nothing to do with thought, and don’t you goddamn forget it.

(EXCERPT FROM AN ONLINE REVIEW BY A. GAVRILOVSKA, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

This release documents the early stirrings of M-Base. Drummer Doug Hammond leads an odd ensemble of drums, two alto saxes (Steve Coleman and Byard Lancaster, who doubles on flute), occasional piano (Kirk Lightsey), and cello (Muneer Abdul Fataah). Steve Coleman contributes four of the 11 compositions, including the brief but powerful "Uhren," which a few years later would lead off the Dave Holland Quintet's Seeds of Time album. Hammond was practically a sixth member of Holland's group of the time, contributing a number of fine compositions. "Figit Time," which ends this session and also Holland's 1987 classic The Razor's Edge, is a good example. There's a marked Dolphy-esque flavor to this band, with their alto/flute/cello constellation bringing Out There to mind on occasion. But the heady rhythmic concepts of Hammond and Steve Coleman were a whole new thing.

(EXCERPT FROM AN ONLINE REVIEW BY DAVID ADLER, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

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·       CONDITION:

·       THE 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 EXCELLENT. This is one of those albums that are somewhat difficult to grade. It is somewhere between VG++ and NEAR MINT, just a notch below NEAR MINT. A few light abrasions ARE visible, but they are extremely shallow, superficial  and only moderately visually distracting (nothing significant).For the most part, the vinyl looks impeccable without any MAJOR visual flaws or imperfections. Much of the original luster is intact, and the vinyl shines and sparkles almost like new.

(b)          The record is pressed on a RELATIVELY  thick, inflexible vinyl. This is NOT a thin, flimsy ('dynaflex' type),  vinyl, but not the thickest, most rigid vinyl, either.

(c)           Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·                               THE COVER

THE COVER IS NICE --- ABOUT EXCELLENT OR VERY GOOD++ (VG++).

The following flaws or imperfections are noted on the cover:

-        Cover has JUST A HINT of ring wear (nothing significant); 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 1.

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

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE  COVER

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POSTAGE & SHIPPING:

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FINE (BUT IMPORTANT!) PRINT

(1) The year indicated in the title bar is the year of the original release,  NOT necessarily the year of the actual pressing; for the actual generation of the pressing, please see our item description (top section, text in red letters). (2) Please do NOT bid based on the title bar, subtitle bar or item specifics box alone; instead, please read the entire description and grading before bidding; (3) Absolutely NO order cancellations after the auction closes. ever, under any circumstances. We can ONLY cancel bids before the item closes. (4) We are unable to cancel bids in the final 12 hours of the auction; if you need to do so, please contact eBay for help (5) We are unable to provide matrix-, stamper- or other pressing  information in the final 24 hours of the auction. If you require this information, please contact us well before the final day of the auction. (6) Yes, we DO combine shipments. Please click on "Shipping and Payment" tab on top of the auction page for additional details. (7)  All Paypal payments must be made from confirmed Paypal shipping addresses. NO third party shipping addresses will be honored (8) Absolutely NO partial refunds: if you are unhappy with the merchandise you received, please return it for a full refund, postage included (9). Civilized people can disagree without accusing each other of being indecent or dishonest; if you need proof of this seller's personal integrity, please check our eBay feedback, which speaks for itself  (10) All disagreements and miscommunications can be - and will only be - solved in a civil and mutually respectful manner;  please avoid puerile, offensive, abrasive or menacing language (attempted humor is fine and usually appreciated, although overused-to-death sarcasms can be really, really tedious. (11) This seller will accommodate all reasonable requests and is generally a flexible and agreeable person (12) Our love & appreciation for your trust, loyalty and business, always and forever; Thank You & Good Night!

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