JAZZ CALENDAR LP Richard Rodney Bennett Stephen Bishop Ensemble Piano Concerto

	£		30
	$		40

Hard-to-find British-only release of jazz compilation album 'Jazz Calendar/Piano Concerto' (1971) by Richard Rodney Bennett. 'Jazz Calendar' is based on the children's poem which begins 'Monday's child is fair of face'.

Piano Concerto – Stephen Bishop on piano; London Symphony Orchestra conducted by Alexander Gibson.
Jazz Calendar – London Jazz Ensemble conducted by John Lanchbery. Liner notes written by Charles Fox. Recorded in association with The British Council.
The full poem is: 'Monday's child is fair of face, Tuesday's child is full of grace, Wednesday's child is full of woe, Thursday's child has far to go, Friday's child is loving and giving, Saturday's child works hard for his living, And the child that is born on the Sabbath day / Is bonny and blithe, and good and gay.'

Richard Rodney Bennett, Stephen Bishop, LSO ?– Jazz Calendar/Piano Concerto (1971)
Condition (refer also to notes at bottom): Vinyl: VG. Superbly clean on visual inspection. Some light hairline marks and scuffs on both sides when viewed closely at an angle. No deep scratches. Played just pre-listing and sound clarity is very good throughout. Some light surface noise at run-ins and very mild static during some quieter cues. Five pops through start of track 3, side 2 because of blemish on surface.
Outer Sleeve (Cover): G-VG. Colours are clear and unfaded. Unlaminated card sleeve. Corners are badly scuffed, with some tears in top right. Top and bottom edges show fairly obvious scuffing as well. Spine is worn with a few splits and creases. Peeling nicks to aperture as well but nothing major. A few creases and curved creases across front and disc ring outline. Back cover has some discolouration at top and bottom but is otherwise in good shape apart from the odd crease in the corner and minor damage to aperture.
Inner Sleeve: VG. Original. Poly-lined white paper with square corners and central hole. A few minor creases/folds through normal handling.

Label: Philips ?– 6500 301
Format: Vinyl, LP, Album
Country: UK
Released: 1971
Genre: Jazz
Style: Avant-garde Jazz

Tracklist
A1. Jazz Calendar (London Jazz Ensemble conducted by John Lanchbery)

Piano Concerto – Stephen Bishop on piano; London Symphony Orchestra conducted by Alexander Gibson
B1. Piano Concerto – Moderato.
B2. Piano Concerto – Presto.
B3. Piano Concerto – Lento.
B4. Piano Concerto – Vivo.


Highlights of liner notes by Charles Fox:
An empiricist – like Debussy – Richard Rodney Bennett is fond of drawing on forms and idioms that are close at hand. It illuminates his professionalism, his versatility (he has written music for countless films as well as the signature tune for TV is 24 hours) and his undogmatic use of serialism.
It is typical that his piano concerto, although untraditional in having four movements, should seem conventional on the surface, exactly what an audience expect the concerto to sound like, yet to contain so many subtleties. It was typical to the both critics in public where enthusiastic when the work was first performed in September 1968 as part of Birmingham’s newly revived Triennial Festival. The piece was commissioned by the Feeney Trust and is dedicated to Stephen Bishop, the soloist at that original performance.

Jazz Calendar is dedicated to the jazz singer Jean Hart and based on the children’s poem which begins ‘Monday’s child is fair of face’, with a movement allotted to each day of the week. But although Jazz Calendar started life as a commission for the BBC Third Programme, it only became hugely successful when presented as a ballet at Covent Garden in January 1968.

Richard Rodney Bennett’s score incorporates a variety of traditional forms and devices. A 12-bar blues turns up in Friday’s Child – on the opening night Nureyev danced it with a raging temperature – the scoring reminiscent of the 2 am drowsiness of Duke Ellington’s Mood Indigo. Thursday’s Child is a fast jazz waltz, while Tuesday’s Child has solos above the familiar ground-plan of the 32-bar pop song. In Saturday’s Child, the trombonist takes a series of two-bar breaks, a practice going back beyond Jelly Roll Morton to New Orleans before World War I. Sunday’s Child, intended to suggest the early days of modern jazz, echoes the kind of scoring introduced by Miles Davis’s recording band of 1949/50, a band that ushered in the so-called cool era of the music. It is the vocabulary of that particular period, reticent, harmonically quite sophisticated, relying on small gesture rather than raw emotion – ‘couth, kempt and shevelled’, as John Dankworth once put it – which Bennett draws upon throughout his work.


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ITEM CONDITION - items are graded according to Record Collector definitions - see below:

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.