KENNY DORHAM W/JOE HENDERSON UNA MAS RARE 1963 BLUE NOTE STEREO LP RVG MINT
  $   93

 


$ 93 Sold For
Dec 10, 2012 Sold Date
Dec 3, 2012 Start Date
$   25 Start price
7   Number Of Bids
  USA Country Of Seller
eBay Auctioned at
 
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·       KENNY DORHAM with JOE HENDERSON, HERBIE HANCOCK, TONY WILLIAMS AND BUTCH WARREN – UNA MAS – 1963 BLUE NOTE RECORDS STEREO LP BST-84127

 

·       GENUINE U.S. PRESSING

 

·       VERY EARLY PRESSING CIRCA 1966 ON WHITE AND BLUE 'BLUE NOTE' LABEL WITH 'A DIVISION OF LIBERTY RECORDS INSCRIPTION ON THE LABEL

 

·       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)

 

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

 

·       ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)

 

·       ORIGINAL GLOSSY, LIGHTLY LAMINATED COVER

 

·       CLEAN, WEAR-FREE LABELS

 

·       THICK, HEAVY VINYL PRESSING

 

(?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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Trumpeter Kenny Dorham's Una Mas was one of 1963's best records. With its melding of hard-bop, bossa nova, and the blues, Una Mas is a prime example of the memorable vamps that Blue Note favored at the time, finding ultimate success later that year with Lee Morgan's The Sidewinder.

 

Dorham was a prolific recording artist for almost a decade before Una Mas—both under his own name and as a sideman for some of jazz's most notable leaders. He wasn't the flashiest or most aggressive player, but he had impeccably good taste as a soloist, and his compositions have enjoyed consistent attention from musicians ever since.

 

With Una Mas, Dorham takes a few risks. Not every jazz musician that tries to infuse Latin rhythms is successful, and in retrospect, some efforts sound contrived. By contrast, Una Mas manages the fusion seamlessly, leaving a record notable for its insistent but not overpowering rhythm, and simple, powerful melodies.

 

Una Mas is also notable as the first recorded appearance of the great tenor saxophonist Joe Henderson. Fresh out of the Army, Henderson's debut is unusually self-assured. A disciple of Charlie Parker, his playing here doesn't betray any copycat licks; instead, he turns in a solid performance of beautifully constructed solos. In many respects his playing here is more adventurous than Dorham's, a hint of great things yet to come.

 

The catchy and suave title track is one of the most recognizable tunes in the Blue Note catalog, built on brilliant economy and using a simple two-note bounce with a tight, blue chorus. Herbie Hancock contributes a particularly sophisticated handling of the two-note theme by modifying the chords almost continuously, even as he remains tightly within the rhythmic framework. The lineup, rounded out by bassist Butch Warren and drummer Tony Williams (only 17 at the time) is as tight and swinging as they come.

 

A classic and essential recording!

 

Track Listing: Una Mas; Straight Ahead; Sao Paolo; If Ever I Would Leave You.

 

Personnel: Kenny Dorham: trumpet; Joe Henderson: tenor saxophone; Herbie Hancock: piano; Butch Warren: bass; Tony Williams: drums. r

 

(EXCERPT FROM AN ONLINE REVIEW BY GREGG SIMMONS, ALLABOUTJAZZ.COM)

 

Trumpeter Kenny Dorham was a significant presence in the bop and hard bop scenes, a musician whose distinctive, lyrical style had been apparent from his work in the late '40s with Charlie Parker's quintet. The year 1963 was especially good for him. He had just returned from a trip to Brazil where he had been absorbing the bossa nova, and he had formed a musical partnership with Joe Henderson, a powerful young tenor saxophonist whose rugged sound and coiling lines were an ideal complement to Dorham's often subtler approach. This session is the first in a series of dates that would pair the two, and the fifteen minute "Una Mas," a percolating mix of hard bop sonorities and a samba beat, was the first recorded example of Dorham's distinctive exploration of bossa nova (his "Blue Bossa" would become a jazz standard). Pianist Herbie Hancock, bassist Butch Warren, and drummer Tony Williams all take naturally to the new beat, handling it as effectively as they do "Straight Ahead." --Stuart Broomer

 

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When one thinks of great talent scouts in jazz, the name of Kenny Dorham is often overlooked. However, many top young players benefited from playing in his groups, and for proof one need look no further than the lineup on this 1963 CD reissue: tenor-saxophonist Joe Henderson, bassist Butch Warren, and (before either player joined Miles Davis) pianist Herbie Hancock and drummer Tony Williams. Together the quintet performs three of the trumpeter's originals ("Una Mas" is the most famous) along with the standard ballad "If Ever I Would Leave You." Even if the playing time (under 37 minutes) is a bit brief, the explorative yet swinging music lives up to its potential.

 

(EXCERPT FROM AN ONLINE REVIEW BY SCOTT YANOW, 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 THIS GROUP OR ARTIST ? 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 NEAR MINT. The original luster is very much intact, and the vinyl shines and sparkles almost like new.

 

(b)          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.

 

(c)           The record comes in the original stock inner sleeve.

 

(d)          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!

 

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

 

 

·       COVER

 

THE COVER IS NICE --- ABOUT EXCELLENT OR VERY GOOD++ (VG++).

 

The following flaws or imperfections are noted on the cover:

 

-         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 2.

 

-         Cover shows some light yellowing on back side, apparently from aging. (nothing significant)

 

-         Minor shelf wear noted on the seams (nothing significant), notably on the spine

 

-         Cover has a few tiny wrinkles along the spine

 

-         Back cover has a few yellowish dust speckles scattered here and there (these tiny spots are not overly obtrusive or distracting) (nothing significant)

 

NO OTHER IMPERFECTIONS ON THE COVER:

 

-        No split seams

-        No cut-out (drill) holes.

-        No cut-out corners

-        No saw-marks or indents

-        No writing

-        No stamps

-        No tearing: no chips, dents or nicks on the seams

-        No peel-off marks

-        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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