LESTER YOUNG GOING FOR MYSELF ULTRA-RARE ORIG '58 VERVE/CLEFF MONO LP NR MINT

$

135

WE CURRENTLY HAVE  NEARLY 400  LISTED ITEMS

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·       LESTER YOUNG with HARRY EDISON,  OSCAR PETERSON, RAY BROWN, HERB ELLIS AND LOUIS BELLSON - GOING FOR MYSELF  - ULTRA-RARE ORIGINAL 1958 VERVE RECORDS MONO LP MG-V-8298

·       ORIGINAL U.S. PRESSING

·       ORIGINAL BLACK VERVE/CLEF SERIES LABEL WITH SILVER PRINT AND DAVID STONE MARTIN'S 'TRUMPETER' LOGO

·       DEEP GROOVE PRESSING

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)

·       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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This was one of Lester Young's last studio albums and - like the final recordings of his great friend, Billie Holiday - there is a striking poignancy about them. Lester was already a sick man, and when these recordings were made in 1957 and 1958, his days were already numbered (he died in 1959). The original LP contained only the first six tracks.

When Ralph Gleason reviewed the LP for Down Beat magazine, he gave it five stars even though he admitted that "I can't stomach the disintegration I hear". The signs of disintegration are plain to hear: Lester's shortness of breath and the way that he ends some tracks unexpectedly - doubtless because he lacked the stamina to continue. The alternate take of Perdido even cuts off before it is finished. And most of the tempos are slowish, for obvious reasons.

Despite the evident drawbacks, Lester still manages to tug at your heart with his fragile, faltering sound and the album is worth getting just for the passages where one can glimpse Lester's lustre still glowing. These parts are more numerous than you might expect. His mellow tone and understated invention are still here. At the end of the final track, Lester closes with an assertive upward twist, as though almost defiantly holding up two fingers to the world which had treated him so cruelly.

The recordings team him with the more sprightly-sounding Harry Edison, swinging as implacably as ever - and still using those clichés which I have noted in earlier reviews. Both Edison and Young prove that less is more: leaving plenty of space in their solos. Forget those note-mongers who cram every bar with as many notes as they can: these two men knew the value of leaving the listener with air to breathe.

The rhythm section on six of the tracks is basically the Oscar Peterson Trio, recalling happy memories of earlier sessions when Oscar accompanied Lester in Norman Granz's productions of such numbers as The Astaire Blues. Both rhythm sections produce a comfortable cushion for Young and Edison to relax on.

Lester Young was renowned as tenor-saxist but he also occasionally played the clarinet (at one time impressing Benny Goodman so much that he was presented with Benny's own instrument). He plays clarinet on the two takes of St Tropez, starting by sounding as breathy as Ben Webster but soon taking to the heights of the clarinet - very like Buddy De Franco. Some of his tenor-sax playing is also very breathy.

This is an album where the listener has to make allowances for Lester Young's afflictions but, if you can make those allowances, there is much to savor here.

 (EXCERPT FROM AN ONLINE REVIEW BY TONY AUGARDE)

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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 comes in the original stock inner sleeve.

(c)             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!

(d)          The record has a "deep groove" (an indent in the label about 1/2-inch from the edge of the label, which on SOME labels is associated with very early or first pressings).

(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 some light 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 3

-         Cover has a small date stamp on the back panel

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

-         Cover shows JUST A HINT of yellowing on both sides, apparently from aging.

NO OTHER IMPERFECTIONS ON THE COVER:

-        No split seams

-        No cut-out (drill) holes.

-        No cut-out corners

-        No saw-marks or indents

-        No dirt/dust rubbing stains (friction marks caused by rubbing against other covers)

-        No wrinkles or creases

-        No writing

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

-        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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