KING PLEASURE Moody's Mood For Love FROM 60's-AN EARLY MASTER OF VOCALESE
$
36
$ 36
Sold For
Nov 4, 2015
Sold Date
Oct 6, 2015
Start Date
1
Number Of Bids
USA
Country Of Seller
eBay
Sold at
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Description
KING PLEASURE Moody's Mood For Love FROM 60's-AN EARLY MASTER OF VOCALESE
A VG PLUS LP ON HI FI JAZZ J425
FROM THE EARLY 1960’S
WITH GERLAD WIGGINS, MATTHEW GEE, TEDDY EDWARDS, HAROLD LAND, EARL PALMER, WILFRED MIDDLEBROOK
TRACKS AS SHOWN ON THE LABEL PHOTOS
BACKGROUND INFO FROM ALLMUSIC.COM WEBSITE:
Along with Eddie Jefferson, King Pleasure was one of the early masters of vocalese -- a style in which lyrics are written and sung to the solos of jazz instrumentalists. Although Pleasure cited Jefferson as his main influence and said that Jefferson was embracing vocalese before him, Pleasure's sax-like phrasing and scat singing proved equally influential. The charismatic improviser (who recorded for Prestige, Aladdin, Jubilee, HiFi Jazz, and United Artists) is best known for his 1952 hit "Moody's Mood for Love," for which Jefferson wrote lyrics to tenor saxman James Moody's 1949 improvisation on the standard "I'm in the Mood for Love." Pleasure was also praised for his interpretations of classics like Lester Young's "DB Blues," Charlie Parker's "Parker's Mood," and Gene Ammons' "Red Top" in the 1950s, and he had a direct or indirect influence on Jon Hendricks, Annie Ross, Bob Dorough, Mark Murphy, Al Jarreau, Lou Lanza, and even the Manhattan Transfer. But his recording career didn't last very long. Pleasure was still recording in the early '60s, but after that, he faded into great obscurity -- although the impact of his early work would remain long after his death on March 21, 1982 (only three days before what would have been his 60th birthday). In the late '90s, one could hear Pleasure's influence on such promising vocalists as Ian Shaw and Lou Lanza.
COVER STOCK WITH LIGHT RUB AND RING WEAR AND AGE DISCOLORATION. CORNERS WITH SMALL ROUGH SPOTS AND OUTER LAYER LOSSES ON POINT. BACK WITH INKED NUMBER BY TRACK LISTINGS. NOTWITHSTANDING, A PICTURE IS WORTH A THOUSAND WORDS, SO PLEASE DO LOOK AT THE COVER PHOTOS TO ASCERTAIN COVER CONDITION.
SPINDLE HOLE WITH A LIGHT RUB MARK. THE HIGH LUSTER VINYL BLANK WITH SOME LIGHT AND FINE SURFACE RUB SCUFF MARKS AND PLAY LINES UNDER BRIGHT ANGLED LIGHT AND ASSIDUOUS EXAMINATION. WE'VE TEST PLAYED THIS LP BY SAMPLING EACH TRACK 2-3 TIMES ON A VPI TURNTABLE WITH A GRADO REFERENCE ONE WOOD CARTRIDGE WITHOUT NOTICE OF THE ABOVE ITEMS AND SOUNDING QUITE FINE HERE.
FROM A NOTED JAZZ REVIEWER'S PRIVATE COLLECTION
RARELY SEEN LP WHICH NOW FETCHES 100 PLUS WHEN SEEING THE LIGHT OF DAY
⁂PLEASE NOTE THE VINYL DESCRIPTION IS ONLY A VISUAL INSPECTION UNLESS OTHERWISE MENTIONED. HERE IS A FEW WORDS ABOUT OUR GRADING SYSTEM AND SUPERSEDES ANY OTHER GRADING SYSTEM, INCLUDING GOLDMINE: ALL RECORDS ARE VISUALLY GRADED AND THE RED GRADE ABOVE REFERS ONLY TO THE APPEARANCE OF THE VINYL BLANK. COVER CONDITION IS NOTED SEPARATELY. ANYTHING BESIDES MINT OR MINT MINUS IS USUALLY TEST PLAYED AND THE RESULTS ARE FOUND IN THE LISTING. MINT INDICATES PRISTINE VINYL WITHOUT ANY MARKS ON THE VINYL BLANK. MINT MINUS MAY CONTAIN A FEW VERY LIGHT SURFACE RUB MARKS FROM HANDLING & SLEEVE WEAR OR A FEW PLAYS. IF YOU ARE A REAL VINYL AFICIONADO AND COLLECTOR YOU'LL KNOW THAT EVEN A FACTORY SEALED LP OCCASIONALLY HAS SOME LIGHT RUB OR SLEEVE MARKS FROM TRANSPORT AND SHELVING. ANYTHING IN THE VG CATEGORY WOULD CONTAIN SOME LIGHT AND FINE SURFACE PLAY LINES AND EVIDENCE OF PLAY WEAR THAT IS EASILY SEEN. SELDOM IS ANYTHING OFFERED IN THE "G" STATE.
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