GERRY MULLIGAN/PAUL DESMOND ORIG FANTASY '55 LP RED WAX

$

62

    
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·       THE GERRY MULLIGAN QUARTET / PAUL DESMOND QUINTET featuring (in no particular order) CHET BAKER,  CHICO HAMILTON, BARNEY KESSEL, AND OTHERS -  THE GERRY MULLIGAN QUARTET / PAUL DESMOND QUINTET ORIGINAL 1955 FANTASY RECORDS MONO LP 3-220 (THE SESSION RECORDED BETWEEN 1952 AND 1954)

·       ORIGINAL U.S. PRESSING

·       ORIGINAL, FIRST PRESSING ON SEMI-OPAQUE (“MARBLE”)  RED VINYL

·       DEEP GROOVE PRESSING.

·       FLAT EDGE PRESSING

·       ORIGINAL MATTE (NOT GLOSSY), MAROON FANTASY MONO LABEL WITH GOLD PRINT (THIS IS THE OLDEST KNOWN FANTASY 12” LABEL)

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

·       THICK CARDBOARD COVER, AMERICAN STYLE.

·       ORIGINAL LAMINATED COVER

·       CLEAN, WEAR-FREE LABELS

(►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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ORIGINAL PAUL DESMOND LINER NOTES (REPRODUCED HERE IN THEIR ENTIRETY FOR HIS GENUINELY QUIRKY SENSE OF HUMOR). NOTE THAT PAUL DID NOT USE UPPER-CASE CHARACTERS AND CAPITALS, AND SO THE TEXT IS REPRODUCED AS-IS, WITHOUT CORRECTIONS

“my name is paul desmond and here i am 30 years old and this is my first album in which i am not breathing down somebody else's neck which snicker tho you may is in many ways no small accomplishment. it comes, you will notice, in two parts - one with voices, one with a quintet, in each of which are to be found all manner of intriguing things: the fascinating unpredictable musings of dick collins, a light, sparkling and remarkably law-abiding fugue by david van kriedt, lush and lovely choral backgrounds by jack weeks and bill bates, the deft and jovial guitar picking of barney kessel and the occasional forlorn sound of an alto surrounded by microphones, all nudged along gently but firmly by the scratchings and pluckings of respectively, joe dodge and bob bates.

the quintet session came about mostly as a means of recording my two favourite van kreidt compositions, originally called CHORALE PRELUDE and FUGUE IV and identified here as BAROQUE...BUT HAPPY - partly to avoid confusion with earlier fugues by van kreidt but mostly to distinguish them from fugues he is yet to write, because van kreidt writes fugues like some people write post cards. so far this one i think, comes closest to his ideal of a fugue in which the freely swinging, haphazard-sounding phrases of current jazz are woven together in accordance with the ancient, and discouragingly strict, rules of fugue writing.

BAROQUE is a chorale prelude in which the original melody (played by dick collins in a corner) is taken from the bach-riemenschneider collection. against this, the alto and tenor play an interweaving counterpoint, the melody of which is related to the subject of the fugue (BUT HAPPY) which follows.

in the fugue, the subject makes the rounds of trumpet, alto and tenor, is followed by a divertimento based on a fragment of the subject (a particularly charming one in this case, since the subject begins and ends in 3/4, and this development of it amounts to a pocket-size waltz thru which the jazz beat goes ahead on). now comes back the subject in the relative minor, making the rounds in reverse order with the entrances coming closer together, then another divertimento leads into what would ordinarily, in the career of a properly reared fugue, be the pedal - a point at which one tone is sustained by the bass and things happen on top. this being a jazz fugue, the pedal is replaced by short choruses from tenor and alto, after which a series of strettos (periods in which the subject and answer are brought progressively closer and closer together), separated by short divertimentos, lead eventually to the concluding real stretto, which in this case is a heavily emphasized statement of the subject.

JERUVIAN is a fond tribute to gerry mulligan in which you will find a freely and fascinatingly wandering dick collins and some alto (it is my custom when listening to playbacks to cough loudly whenever i hear something coming that i played and don't like and altho things have improved since the early days - "whispering desmond" they used to call me, up at sound recorders - most editing sessions still leave me a bit horse. i mention this because there are places on this record where i almost don't have to cough at all).

MISTY WINDOW is a quietly nostalgic ballad which dave wrote in 1946, borrowing the first two bars from an old standard and developing them in different directions (van kreidt develops themes like some people develop pictures).

dave is a charter member of the brubeck octet, also (along with dick collins and jack weeks) of the slightly more select group within the octet, occasionally referred to as the four frenchmen, who studied with darius milhaud at mills college and in paris, in addition to which dave has studied at the college of the pacific and at san francisco state. also, come to think of it, in the army band where i first met him and in which we spent many long hours together cleaning latrines - me, because of a sort of monumental inefficiency, van kreidt mostly because he kept telling the first sergeant how miserable the band sounded. fact was never dave's forte, or for that matter even his mezzo-piano, which may be one reason why his works have not gone forth and multiplied any too much just yet. remember those comic strips they used to run on washington's birthday, where somebody tries to tell the truth all day long and disaster ensues and all? van kreidt, that's the story of his life. with, i rejoice to report (since the uncrafty approach doesn't always get it these days), a pretty groovy outlook as of now. dave lives in tahoe city california with a gorgeous and quiet wife and three beautiful kids, teaches high school and spends his spare time writing music and viewing the surroundings, which are about as idyllic as you can get.

dick collins is a down-home type intellectual with whom (along with van kreidt and jack weeks) i've spent many years in san francisco blowing in one era, so to speak, and out the other. he is to be heard these days mostly with the hard driving trumpet section of woody herman (who notably agreed to do without dick for a night when the band was in reno so dick could fly to hollywood for the session). he has also recorded with a number of small groups for fantasy, as well as (most recently) for victor. and high time, too, because dick is too much.

the side with voices was thought up by jack weeks, who wrote WILL I KNOW and arranged SOON and GARDEN IN THE RAIN. it was produced by bill bates, who wrote WINKY, and brightened considerably by the presence (with the kind permission of contemporary records) of barney kessel. the voices, assembled by bill bates from several of hollywood's most well-fed singing groups, belong to bill thompson, bernie parke, bill brown, sue allen, gloria wood and loulie jean norman, all of them frighteningly competent. (those ethereal sounds up on top of everything else come mostly from loulie jean, the recording angel).

jack weeks, son of anson, has written for countless bands, plays trombone, piano and bass and sings but unfortunately will not travel - except maybe to paris, because he won the prix de paris for composition this year at the university of california, where he is currently working for an m.a.

wonderful barney kessel who put on NEW STRINGS for this occasion and came early so's he could practice his part is definitely a joy to have around and no band should be without him. watching him is almost as much fun as listening to him. - especially his left hand, which always seems to be involved in a sort of prehensile ballet (the last chord of his solo on SOON always reminds me vaguely of an amiable spider moving over to make room for the homeward-bound altophone).

bill bates lives in l.a. with 2 ampexes (ampice?), a wife, several cats and a stuffed owl, is the inventor of the unfortunately seldom-used bates system for swiss bell-ringers, which involves a toy piano equipped with a Ford coil, 12 or so lengths of copper wire and 12 or so stout-hearted bellringers, all assembled in such a fashion that when they hit an E-flat on the piano you hear an e-flat from the appropriate bell-ringer right now and no nonsense about it. his methods with singers altho occasionally less sadistic are wondrously effective and without him we would have been lost.

bass and drums for both sessions were played, with their customary folksy verve, by bob bates and joe dodge.

pictures of the quintet are by william claxton, pictures of the singers and all are by bob willoughby. will macfarland helped with the album notes and thought up some of the better titles. radio recorders did the recording.

For additional historical information on this album, including track listing ►click here

TO SEE IF WE HAVE OTHER LISTED ITEMS BY GERRY MULLIGAN ►  CLICK HERE

TO SEE IF WE HAVE OTHER LISTED ITEMS BY PAUL DESMOND ►  CLICK HERE

THIS IS A NO-RESERVE AUCTION!

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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 STRONG VG++, just a notch below NEAR MINT. A few light abrasions (probably just sleeve scuffs inflicted in storage over the years) ARE VISIBLE, but they appear fairly  insignificant relative to the overall condition of the vinyl, and are only moderately visually distracting. For 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 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).

(c)           This is the original FLAT EDGE pressing

(d)            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!

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

·       COVER (THIS IS THE ORIGINAL, LAMINATED, GLOSSY COVER):

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

The following flaws or imperfections are noted on the cover:

-        Cover has a partially split top seam (between 2 and 4 inches  / 5 to 10 centimeters)

-        Cover has a partially split bottom seam (between 1 and 2 inches  / 2.5 to 5 centimeters)

-         Cover has two corners slightly worn / dinged  / bent (nothing significant)

-         Cover has a small, rectangular, sticker residue (small yellowish discoloration from the removed price sticker)

-         Cover shows some light yellowing on both sides, apparently from aging (nothing significant)

-         Cover has some light ring wear (nothing significant);  (VISIBLE ON BACK SIDE ONLY) ; 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

NO OTHER IMPERFECTIONS ON THE COVER:

-        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 wrinkles or creases

-        No writing

-        No stamps

-        No peel-off marks

-        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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