HARRY EDISON jazz LP VERVE trumpeter logo “Sweets” MONO dg NM
$
35
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Description
Artist: HARRY EDISON
Title: “Sweets”
Label: VERVE ~ # MG V-8097. Monaural pressing on medium weight vinyl. Label is flat black “trumpet player” logo, with silver text and deep groove.
Personnel:
Harry “Sweets” Edison – trumpet
Ben Webster – tenor sax
Barney Kessel – guitar
Jimmy Rowles – piano
Alvin Stoller – drums
Joe Mondragon – bass.
Condition:
DISC: Vinyl is NEAR MINT with 100% of original gloss, as clean as can be found. Appears to have been played one or two times at most, and handled with utmost care. Labels are clean. Fidelity is superb. A solid “10” out of ten.
JACKET: Jacket is EXCELLENT with nice bright artwork. Seams, spine, and surfaces are excellent. Front panel has small scuff mark at the top right. Reverse is clean and white, except for small pencil notation at the upper left. Overall a very fine jacket.
Track Listing:
Side One:
- Hollering at the Watkins
- Used to be Basie
- How Deep is the Ocean
- Studio Call
Side Two:
- Willow Weep for Me
- Opus 711
- Love is Here to Stay
- K. M. Blues
- Walkin’ with Sweets
Review:
“Neither an innovator nor an iconoclast, trumpeter Harry “Sweets” Edison is simply one of the bluesiest, hardest-swinging, and downright tastiest jazz musicians of the 20th century. A consummate sideman who worked steadily throughout his career (even getting gigs recording soundtracks in the '50s), Edison created music that always reflected his journeyman aesthetic and unerring sense of swing. Recorded in 1956, Sweets is one of the quintessential Edison albums showcasing the former Count Basie bandmember at the height of his abilities with a stellar ensemble of other Basie-ites, including tenor saxophonist Ben Webster, guitarist Barney Kessel, pianist Jimmy Rowles, bassist Joe Mondragon, and drummer Alvin Stoller. Rolling from blues to standards and back to blues, the album is a veritable "how-to" book of swing. In fact, leadoff track "Hollering at the Watkins" finds Edison building one of his trademark perfect solos in which each chorus gains more energy as the trumpeter seems to grab hold of the band, making it swing harder as his lines pucker with melodicism and timing. It's also nice to hear guitarist Kessel really get to rock out a bit, bending his notes Tiny Grimes style, without ever dropping the time. However, it's not just the blues tunes that keep your attention but such ballads as "Willow Weep for Me" and "Love Is Here to Stay," featuring Edison and Webster in top mellowed-out form.”
(courtesy Matt Collar, allmusic.com.)
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