JOHN COLTRANE+HANK MOBLEY+PAUL CHAMBERS 2 TENORS PRESTIGE MONO LP SHRINK NM

$

58

    
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·       JOHN COLTRANE AND HANK MOBLEY with DONALD BYRD, ELMO HOPE, PAUL CHAMBERS AND PHILLY JOE  JONES – TWO TENORS – 1956 PRESTIGE RECORDS MONO LP 7043

·       GENUINE  U.S. PRESSING

·       IMPORTANT NOTE: THE PRESSING INFORMATION FOR THIS ALBUM WHICH CAN BE FOUND ONLINE (NOTABLY IN WIKIPEDIA) IS BLATANTLY INCORRECT. PARTICULARLY IN REGARDS TO THE YEAR OF RELEASE: [1]  THE ALBUM WAS ORIGINALLY ISSUED IN 1956 AND WAS CREDITED UNDER ELMO HOPE'S NAME (WITH COLTRANE, MOBLEY, BYRD,  CHAMBERS AND JONES LISTED AS SIDEMEN) AND WAS ORIGINALLY TITLED "INFORMAL JAZZ".   [2] A YEAR OR SO  LATER,  CIRCA 1957, IT WAS REISSUED UNDER COMPLETELY DIFFERENT TITLE ("TWO TENORS") WITH A DIFFERENT COVER (ABSTRACT BROWN AND BLACK COVER), AND DIFFERENT CATALOG NUMBER, BUT THIS TIME IT WAS CO-CREDITED TO COLTRANE AND MOBLEY  [3] THIS, SECOND, INCARNATION OF THE ALBUM WAS AGAIN ISSUED, THIS TIME IN 1963/64 WITH YET ANOTHER COVER (BLACK AND  WHITE PHOTO COVER ON RED AND BLACK BACKRGROUND) , BUT WITH SAME CATALOG NUMBER AS THE PREVIOUS ONE (7043) , SAME TITLE ("TWO TENORS") AND SAME MAJOR CREDITS (COLTRANE/MOBLEY) [4]. FINALLY, THE ALBUM WAS REISSUED ONCE MORE, FOR THE  LAST TIME, AROUND 1971/72, AGAIN BY PRESTIGE, AGAIN UNDER THE SAME TITLE ("TWO TENORS") AGAIN WITH THE SAME CREDITS (COLTRANE/MOBLEY), BUT WITH ANOTHER, COMPLETELY DIFFERENT COVER AND DIFFERENT CATALOG NUMBER.  CONTRARY TO THE INFORMATION OFTEN FOUND ONLINE THIS ALBUM WAS NOT ORIGINALLY RELEASED IN 1969, BUT NEARLY 13 YEARS EARLIER..  WHAT WE HAVE HERE IS THE THIRD (1963) VERSION OF THE ALBUM, WHICH WAS THE LAST ONE TO BE RELEASED IN TRUE MONO (THE 1971 RELEASE WAS ELECTRONICALLY RECHANNELLED STEREO)

·       VERY EARLY PRESSING CIRCA 1963 ON A  DARK BLUE 'PRESTIGE' LABEL WITH SILVER PRINT AND 'TRIDENT' LOGO.

·       The record has a ►Rudy Van Gelder’s name or  his initials (RVG) clearly stamped or hand-etched in the trail-off vinyl (dead wax)

·       RARE MONO PRESSING, MANY TIMES RARER THAN FAKE (“ELECTRONICALLY RECHANELLED”) STEREO

·       THIS IS NOT AN IMPORT, RECORD CLUB RELEASE OR A COUNTERFEIT PRESSING.

·       ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)

·       COVER IS STILL IN ITS ORIGINAL SHRINK (CELLOPHANE) WRAP

·       CLEAN, WEAR-FREE LABELS

·       THICK, HEAVY VINYL PRESSING

·       As far as we know, this album has NEVER been available on legitimate Compact Disc or in any other way, manner or format.

 (►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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The Prestige label turned out records like this at the rate they roast ducks in Chinatown, and there are plenty of happy souls who can't get enough of either. If this particular session hasn't assumed the legend of a jazz classic, it's because, on the whole, some little spark seems to be missing. If this element could be defined easily, and put into words quickly and efficiently, then record producers and musicians would know exactly how to create the perfect jam session record. The people involved in this record know much more about such a science then the average musician and record producer. These are musicians very far down the road from being average, all of this underscoring the difficulty of creating a spontaneous recording session at which moments of improvisational genius are expected to pop up.

While the album's title is another example of how cleverly labels such as this can describe what they are selling, there are really many aspects of these proceedings that are hardly informal at all. Describing these in the order in the importance, the obvious place to start is the drum and bass team of Philly Joe Jones and Paul Chambers. The playing of these gentlemen here is worth the price of the record alone, even if the copy is secured from a tightwad used-record store owner somewhere in the Ozarks who only opens the doors of his establishment for gold credit card owners. This is hardly the kind of rhythm section playing heard at a jam session, except possibly in heaven.

Elmo Hope mans the piano bench at the helm of this dream team, and while the liner notes call him the "nominal leader" for the blowing date, he earns actual leader status by accomplishing two things. First, his solo spots are the best part of the record, especially the part of "Weeja" where even Jones drops back, eventually adding some strange filigree. At this point the rhythm section seems to be making a statement about having gone through the rigmarole of backing all the previous horn solos in an exercise that is supposed to produce great moments of jazz, but maybe didn't. They play as if in relief, as if happy it is up to them for a change. What happens is truly memorable, but it sounds more like professional musicians who have worked together many times hitting a genius moment, not a jam session.

Second, Hope provides original material that helps give the record its personality. It is typical to pass off the tunes at sessions such as this as just simple contrivances to launch soloists, but again it is a stretch to imagine an "informal" recording session where even material as complicated as this is played. Both of the standards have arrangements that would leave jazz students, and some of their teachers, tying their shoes on the bridge. Hope's "Weeja" has a simple fanfare of a theme, sure, but it is arranged within a nifty series of short blowing spots. This is where the merry listener gets the treat of hearing Donald Byrd, Hank Mobley, and John Coltrane introduce themselves instrumentally, the latter tenor giant making a great ride of the bridge. Everything is tight, together, and without a hitch. Squeaking mouthpieces from Mobley and Coltrane are the only casual aspects.

These tenor titans are promoted as being involved in reviving the instrumental battle popularized by Gene Ammons and others here, but a real duel would require some kind of interaction between the participants. Mobley and Coltrane really don't seem to be paying much attention to each other, pursuing their own agendas. Mobley has the whisk broom and the fluff brush, enjoying an effortlessly fluid tone with a sound a bit like Warne Marsh at times. Coltrane continually blasts ringing melodic variations on various hard bop licks, each of them worthy of being chiseled into marble. The trumpeter's acrobatics are familiar, pole-vaulting through the changes, running the 440 through the bridge, then a standing broad jump in the trades with Jones. Can anyone else play like Byrd? It hasn't happened yet. The overall best performance is probably "Polka Dots and Moonbeams" -- since it is the one slow tune of the bunch, it gets the most special treatment. Shorn of nothing but moments of sheer brilliance, a shorter and better version of this album would feature only the piano solos and the parts where everyone trades fours with the drummer.

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

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

TO SEE IF WE HAVE OTHER LISTED ITEMS BY JOHN COLTRANE ► click here

TO SEE IF WE HAVE OTHER LISTED ITEMS BY HANK MOBLEY ►  CLICK HERE

TO SEE IF WE HAVE OTHER LISTED ITEMS BY ELMO HOPE ►  CLICK HERE

TO SEE IF WE HAVE OTHER LISTED ITEMS BY DONALD BYRD ►  CLICK HERE

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

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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  (WEAK) NEAR MINT. Some VERY LIGHT AND SUPERFICIAL abrasions – mostly sleeve scuffs -  are (barely) visible, but are probably inaudible,  and do not affect visual integrity or beauty of the vinyl. 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 ►Rudy Van Gelder name, or  his initials (RVG) stamped or hand-etched in the trail-off vinyl (dead wax). On SOME  Jazz labels (Blue Note, Savoy, Regent, Prestige, Impulse, Verve…) this stamp signifies highly professional masterings either done by - or  personally authorized by - the legendary engineer himself.

(d)          Mono pressing of this title is much rarer, and by far more  preferable to its FAKE ("electronically rechannelled") stereo counterpart. We estimate that FAKE stereo copies of this album outnumber monos by a ratio of at least 5:1.

(e)           True Stereo copies of this album are NOT known to exist.

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

·       COVER

COVER IS (WEAK) NEAR MINT,  STILL IN ITS ORIGINAL ►SHRINK WRAP

The following flaws or imperfections are noted on the cover:

-        Cover has a small, neat, circular cutout hole in one of the corners

-        Cover has a few tiny wrinkles along the spine

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

-         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 (front side) and 2 (back side).

-         Cover shows JUST A HINT of yellowing on back side, apparently from aging.

-         Minor shelf wear noted on the bottom seam (nothing significant)

NO OTHER IMPERFECTIONS ON THE COVER:

-        No split seams (yet)

-        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 peel-off marks

-        No stains

-        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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POSTAGE & SHIPPING:

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INTERNATIONAL POSTAGE rates vary from country to country. For SPECIFIC international and domestic postage rates ►click here. While you can be rest assured that ►our packaging is careful, sturdy and impact-proof, please note that damage, loss or theft in transit is always possible, and in the case of some countries even PROBABLE. To discuss this potential problem and ensure flawless delivery, please contact us thru eBay BEFORE placing a bid.

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