DUKE ELLINGTON FESTIVAL SESSION RARE ORIG '59 COLUMBIA STEREO LP 6-EYE LABEL NM
$
115
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· DUKE ELLINGTON with CLARK TERRY, JOHNNY HODGES, PAUL GONZALVES, JIMMY WOODE AND OTHERS– FESTIVAL SESSION – RARE ORIGINAL 1959 COLUMBIA RECORDS STEREO LP CS-8200
· ORIGINAL U.S. PRESSING
· ORIGINAL RED AND BLACK COLUMBIA 'SIX EYE' STEREO LABEL
· EXTREMELY RARE ORIGINAL STEREO PRESSING, MANY TIMES RARER THAN MONO
· DEEP GROOVE PRESSING
· 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
· THICK, HEAVY VINYL PRESSING
· MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) ENDS WITH '-1C/-1F'. ON SOME LABELS, SUFFIX '–1' DENOTES THE VERY FIRST, ORIGINAL PRESSING)
· MACHINE-STAMPED MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) OF THE RECORD
(►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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Duke Ellington was constantly composing new material as well as creating new arrangements of vintage works, as heard on this Columbia LP recorded in 1959. "Perdido" is an extended feature for Clark Terry's virtuoso flügelhorn, though this would be his final studio session as a regular member of the Ellington band. "Copout Extension," a longer version of an earlier work called "Copout," showcases marathon soloist Paul Gonsalves on tenor sax. Among the new pieces, the three-part suite "Duael Fuel" features drummers Jimmy Johnson and Sam Woodyard, though the piece was dropped from the band book after 1960. "Idiom '59" is another new three-part suite, with the elegant clarinet of Russell Procope, clarinetist Jimmy Hamilton's more raucous styling, and finally, the leader paired with Terry (again on flügelhorn). This suite had an even shorter life; it had been premiered at the Newport Jazz Festival earlier in the year, and this was its second and final performance. Ellington's brisk swinging chart of "Things Ain't What They Used to Be" spotlights the matchless alto saxophonist Johnny Hodges, who was always as ready to play the blues as he was ballads. "Launching Pad," though credited to Ellington, was actually written by Terry and orchestrated by the pianist. This sassy blues strangely features Ray Nance instead of its composer as the trumpet soloist, along with a quartet consisting of Terry, Britt Woodman, Hamilton, and Gonsalves. Long one of the classic sleepers awaiting discovery in Duke Ellington's considerable discography, this LP was finally reissued on CD in early 2004, adding two tracks from the same session previously issued only on a European LP anthology, as well as restoring a drum solo by Johnson edited out before the initial release of the album. Highly recommended.
(REVIEW REPRINTED COURTESY OF KEN DRYDEN, ALL MUSIC GUIDE /ALLMUSIC.COM/)
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· CONDITION:
· 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 NEAR MINT. The original luster is very much intact, and the vinyl shines and sparkles almost like new.
(b) The record is pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!
(c) The record has a "deep groove" (an indent in the label about 1/2-inch from the edge of the label, which on SOME labels is associated with very early or first pressings).
(d) Stereo pressing of this title is much rarer, and by far more preferable to its mono counterpart. The mix is more graphic, the sound resolution more precise, and the channel separation (which does not exist on mono version) adds a whole new dimension to the music. Also, the stereo mixes are (by definition) somewhat different than on the mono version. We estimate that mono copies of this album outnumber stereo copies by a ratio of at least 5:1.
(e) The record is STILL in its original inner, perforated plastic baggy, which has - apparently with success - shielded the record from the harmful impact of elements over many years!
(f) Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!
· COVER
THE COVER IS NICE --- ABOUT VERY GOOD++ (VG++).
The following flaws or imperfections are noted on the cover:
- Front cover has a TINY peel-off mark, probably from the careless removal of the price sticker. (less than 1/16th square inch in size)
- Cover has some light 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 3
- Cover has a light "wrinkle" (crease) in one of the corners.
- Cover has a few tiny wrinkles along the spine
- Visible shelf wear noted on the top and bottom seams
- Cover has two corners slightly worn / dinged / bent.(nothing significant)
- Cover shows JUST A HINT of yellowing on both sides, apparently from aging.
- Cover has a small, rectangular, sticker residue (small yellowish discoloration from the removed price sticker)
NO OTHER IMPERFECTIONS ON THE COVER:
- No split seams (yet)
- No cut-out (drill) holes.
- No cut-out corners
- No saw-marks or indents
- No dirt/dust rubbing stains (friction marks caused by rubbing against other covers)
- No writing
- No stamps
- No mold or mildew spots
- No stickers or labels
- No water damage
- No razor marks, scratches, pressure marks, lines, streaks, or cuts.
- No warping
- No wax, glue, paint or liquid drops on the cover
- No glue traces or wax residue.
- No bar codes
- No RIAA stamps or stickers.
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