MILES DAVIS/MILT JACKSON QUINTET/SEXTET ORIG PRESTIGE 7034 MONO JAZZ LP DG RVG
$
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Description
MILES DAVIS/MILT JACKSON~QUINTET/SEXTET~ORIG PRESTIGE 7034 MONO JAZZ LP~DG~RVG
Product Description
MILES DAVIS/MILT JACKSON "QUINTET/SEXTET" PRESTIGE 7034EXTREMELY RARE ORIGINAL 1950s LP IN AMAZING CONDITION!! COVER IS EXCELLENT WITH ONLY MINOR WEAR! BERGENFIELD ADDRESS ON THE COVER AND THE LABELS. LAMINATION IS COMPLETELY INTACT!! ALL SEAMS ARE STRONG AND UNSPLIT!! THERE IS A SMALL DENT IN THE LOWER RIGHT CORNER AND SMALLER DENTS IN THE OTHER CORNERS. DEEP GROOVE PRESSING WITH "RVG" ETCHED IN THE DEAD WAX. MONO PRESSING! VINYL IS EXCELLENT WITH A FEW LIGHT SCUFFS/SCRATCHES. THERE IS A SMALL DEFECT IN THE PRESSING DURING "MINOR MARCH" BUT IT WAS INAUDIBLE DURING PLAY. OVERALL, THE ALBUM SOUNDS ALMOST NEW - IN SPITE OF THE FACT THAT IT IS OVER 50 YEARS OLD!!!
Less heralded than their collaboration with Thelonious Monk (as documented on Bags' Groove and Miles Davis and the Modern Jazz Giants), this August 5, 1955 session with vibraphonist Milt Jackson was Davis' last all-star collaboration before the formation of his first classic quintet. It marked a farewell to an older generation of acolytes and fellow travelers; Davis was entering a new era of leadership and international stardom, and generally he would only record with his working groups. Quintet/Sextet is notable for two compositions by Jackie McLean: "Dr. Jackle" and "Minor March" (it appears on his famous 1959 Blue Note date New Soil as "Minor Apprehension"). The former is a Charlie Parker-ish line featuring a masterful Milt Jackson symposium on the blues -- Davis' typically lyric approach, a tart, spacious flight from McLean, and a soulful, dancing Ray Bryant. The latter is a mysterious minor figure with jabbing rhythm breaks and a joyous bridge that recalls "Tempus Fugit." McLean's vaulting cadences and fervent cry anticipate the rapture of his mature style, and Bryant takes a harmonically adventuresome solo. Elsewhere, the group digs into the Bud Powell-like changes of Ray Bryant's low, slow "Changes" (over the rock-solid groove of Percy Heath and Art Taylor), and the quirky harmonies and angular melodies of Thad Jones' "Bitty Ditty." "Changes" inspires a lovely muted statement from Davis, and illustrates Bryant's unique blend of blues, sanctified gospel, and bebop. Davis and Jackson combine for pungent voicings on the head to "Bitty Ditty," then demonstrate their elegant mastery of harmony and swing. Both are inspired by the shape of Jones' line, and are completely unfazed by its intricacies.
The image included with the auction is a scan of the actual item but, due to size limitations of the scanner, the edges of the item may have been cropped.
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MINT = like new or near new with only one or two small insignificant defects, a 9 or better on a 1-10 scale
EXCELLENT = Would be Near Mint, except for a couple of light hairlines or scuffs, which do not affect play
VG++ = still a very nice record with all or nearly all of its original gloss but may have a few more light, surface marks, hairlines, needle tracks or the like which should not materially affect play
VG+ = a nice, but used record that may have a series of light scuffs or scratches. It probably plays with a few pops, but has no serious problems.
VG = a well-used record that still should sound OK when played, but may have moderate surface noise, pops, etc.
VG- = a very well-worn record that plays through without skipping, but will do until a better copy comes along.
Good = not actually good at all but probably will play through but with much in the way of surface noise, pops, crackles, etc. Still, will have no cracks, chips or the like
Fair = you are getting this record just to own but not to play
Poor = the sky's the limit, generally I will discard a record this bad (and sell the cover, jacket or sleeve alone) unless the label holds some particular interest
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