LOU DONALDSON TIME IS RIGHT RARE ORIGINAL '59 BLUE NOTE MONO LP 63rd RVG EAR

$

260

    
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·       LOU DONALDSON with RAY BARRETTO, DAVE BAILEY, SAM JONES , AL HAREWOOD, HORACE PARLAN AND BLUE MITCHELL  – THE TIME IS RIGHT – ORIGINAL 1959 BLUE NOTE RECORDS MONO LP BLP-4025

·       ORIGINAL U.S. PRESSING

·       ORIGINAL WHITE AND BLUE 'BLUE NOTE' LABEL WITH '63RD STREET., NEW YORK',  ADDRESS 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)

·       DEEP GROOVE PRESSING

·       The record has an "EAR" symbol (a pretzel-like engravure about 1/4-inch/6mm long) in the trail-off vinyl, which on SOME jazz labels is associated with very early or first pressings)

·       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)

·       ORIGINAL LAMINATED COVER

·       CLEAN, WEAR-FREE LABELS

·       THICK, HEAVY VINYL PRESSING

·       MONO version of this album has NEVER been available on legitimate Compact Disc or in any other digital 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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Though the names Ben Dixon and Idris probably come to mind first and foremost when thinking of "groovy" Lou, this early LD "bop" era session is a dream team rhythm section session in itself... the sparse but deeply introspective and in the pocket Horace Parlan on piano... The cool, self assured right on the money walks of Laymon Jackson (admittedly not a name as well known as Mr. PC - - also a Jazz tuba player, but as the liners note... the perfect blend) - - Dave Bailey (of the Gerry Mulligan Qt.) on Drums... and (...press roll please) Ray Barretto on conga, with Blue Mitchell finishing up the front line make this session as deep, richy and chewy tasting as taffy and caramel...

Opening with Lou's Blues, its an interesting head, because its pure Parker style bop, yet it really pulls you in, and gets you wanting to sort of twist and tap... and swing at the same time. - - Immediately after, however, Lou goes from groovy and swinging to sweet and swinging with Be My Love, here demonstrating a somewhat more rich and dynamic sound than he would in latter years, truly showing off that his chops went well beyond the licks, and also embodied his ability to make an alto sound... sorry to be repetitive tasty. Horace Parlan takes a really cool, relaxed and bopping solo on this that's in the early Red Garland w/ a touch of Shearing tradition and demonstrates what a monster he was - - The tune is then followed by Idaho- - in the hands of some a bebop cliche, but in the hands of Lou, a work into itself... This version amply enhanced by Baretta's cool pita-pat. Though on many albums Lou gives more than ample space to his ensemble, the in the pocket but space conscious nature of this ensemble let's you really appreciate Lou the swinging alto player... Blue Mitchell also shows off his brilliant phrasing and dynamics on this one in ways that make you want to pay attention to each and every note... he's followed by Horlace Parlan who takes a similar approach... its a "pay very very close attention" to each and every note type solo... Ray and Laymon Jackson also get some back and forth...

The album then includes The Nearness of You, ultra sweet ballad tempo with Blue's muted head... when Lou comes in for the bridge its hard not to remember his idol Bird on his later Verve sessions... obviously the spirit of Miles and Bird are alive on this one, though Blue's tone sounds a bit more "effortless" than Miles... Lou's solo is also interesting because even though he's in Bird's back, he's clearly playing his own thoughts and ideas, and also is extremely comfortable working with space... Parlan has to answer this, and he does so with a very moody solo, that's equally answered by Blue... thought a ballad, its interesting because its still quite edgy and you want to tap your feet. - - The session finishes up with a happy version of Mack The Knife which starts off with just Barretto and Laymon working their magic... (Then, surprise, surprise, the rhythm section comes in and things get swinging hard.)

Crosstown Shuffle brings us back to Lou's trademark groove and is more in the hard bop tradition of the era... It lacks the energy of a "title song", but is still a good toe tapper... finally, the session ends with Tangerine, in which Ray gets a few bars then Lou authoritatively states the melody with the dream team of Jackson/Bailey and Barretto right on him...

All in all, if you're looking for an album with a Jazz rhythm section that's sweet and tasty - - but, in the Lou tradition is 100% in the groove and dare not show off (on purpose) and if you'd like to hear an album that's a vehicle to pay close attention to Lou's phrasing, tone and ideas... this is it... a timeless listen... Jazz piano fans get the added bonus of Parlan's richly introspective yet in the groove solos... and any Jazz player gets an education of the meaning of the acronym K.I.S.S. and the powerful results of it when applied by an ensemble that's seasoned, self assured, yet has players who are still imaginative nonetheless.

 (EXCERPT FROM AN ONLINE REVIEW BY EDDIE LANDSBERG)

For additional historical or discography information on this album, including track listing ►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 STRONG VERY GOOD+(+) . CAUTION: The vinyl is NOT MINT or NEAR MINT, but is nevertheless in a very nice and clean condition. There are some surface marks and abrasions, mostly light and superficial, although some may be longer than 1.1/4 inches (1 inch = 2.5 centimeters)

(b)          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)

(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)          The record has an "ear" symbol (a pretzel-like engravure about 1/4-inch/6mm long) in the trail-off vinyl, which on SOME  jazz and blues labels (such as Blue Note; Folkways; Period, etc…) is associated with very early or first pressings). The 'ear' symbol is actually a letter 'P' in italic script, denoting a pressing made by Plastilite Corporation’s pressing plant.

(e)           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!

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

·       COVER (THIS IS THE ORIGINAL, LAMINATED, GLOSSY 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 1 (front side) and 3 (back side)

-         Back cover has circular tarnish (grayish, dust-covered sections, which closely follow the contour of the record),  probably caused by friction or by rubbing against other covers during the storage. The tarnish is similar in appearance to a common ring wear, but, UNLIKE ring wear, these grayish areas may be possible to clean up with a minor effort and with a right cleansing solution.

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

-         Minor shelf wear noted on the opening side (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 wrinkles or creases

-        No writing

-        No stamps

-        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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