MILES DAVIS w/GIL EVANS MILES AHEAD RARE ORIG 1956 SIX EYE MONO LP WITHDRAWN CVR

$

100

    
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·       MILES DAVIS (with Gil Evans and Orchestra featuring [uncredited] ART BLAKEY, PHILLY JOE JONES, WYNTON KELLY, PAUL CHAMBERS, LEE KONITZ, CHARLES MINGUS, MAX ROACH, SONNY ROLLINS, HORACE SILVER, ART TAYLOR and others  – MILES + 19 / MILES AHEAD - ORIGINAL 1958 COLUMBIA MONO LP CL-1041

·       ORIGINAL U.S. PRESSING

·       RARE ORIGINAL "WOMAN ON THE BOAT" COVER, ALMOST IMMEDIATELY WITHDRAWN BECAUSE MILES WENT BONKERS WHEN HE SAW A…(GASP!) WHITE WOMAN ON THE COVER (NOW, IF THIS HAD HAPPENED TO KOBE BRYANT, THINGS WOULDA BEEN SOMEWHAT, UM…MORE MELLOW)

·       DEEP GROOVE PRESSING

·       ORIGINAL RED AND BLACK “SIX-EYES” COLUMBIA MONO LABEL.

·       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)

·       THICK, HEAVY VINYL PRESSING

·       CLEAN, WEAR-FREE LABELS

·       MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) ENDS WITH '-1D/-1C'.  ON SOME LABELS,  SUFFIX '–1' DENOTES THE VERY FIRST, ORIGINAL 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 album is perhaps most significant for the process it set in motion -- the collaboration between Gil Evans and Miles Davis that would produce Porgy and Bess and Sketches of Spain, two of Davis' best albums. That said, this album is a miracle in itself, the result of a big gamble on the part of Columbia Records, who put together Evans  and Davis, who hadn't worked together since recording the critically admired but commercially unsuccessful sides that would later be issued as The Birth of the Cool. Columbia also allowed Evans  to assemble a 19-piece band for the recordings, at a time when big bands were far out of fashion and also at a time when the resulting recordings could not be released until two years in the future (because of Davis' contractual obligations with Prestige). Davis was also expected to carry the album as its only soloist, and manage not to get lost among a cast of supporting musicians that included a huge horn section. To a large extent, he succeeds. Evans' arrangements in particular are well-suited to the format, and he and Davis formed a deep and close partnership where ideas were swapped back and forth, nurtured, and developed long before they were expressed in the studio. Davis gets off to a great start, with the hyper-kinetic "Springsville," which seems to almost perfectly embody Evans' and Davis' partnership with its light, flexible exchanges between soloist and orchestra. He is strongest on the ballads, though, where his subdued and wistful tone rises high above the hushed accompaniment, especially on "Miles Ahead" and "Blues for Pablo" (which foreshadows the bluesy, Latin-tinged sound of Sketches of Spain). The upbeat "I Don't Want to Be Kissed (By Anyone but You)" is another strong song, but shows the weakness of the format as Davis intersperses a charming, bright, technically challenging solo with a blasting horn section that occasionally buries him. It is a fine end, however, to an album that gave a hint of the greatness that would come as Evans  and Davis fine-tuned their partnership over the course of the next several years.

 (EXCERPT FROM AN ONLINE REVIEW BY STACIA PROEFROCK, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

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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 VG++, just a notch below NEAR MINT. A few light abrasions (probably just sleeve scuffs inflicted in storage over the years) ARE VISIBLE, but they appear fairly  insignificant relative to the overall condition of the vinyl, and are only moderately visually distracting. For most part, the vinyl looks impeccable, without any MAJOR visual flaws or imperfections. Much of the original luster is 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)           Mono pressing of this title is much rarer, and by far more  preferable to its FAKE ("electronically rechannelled") stereo counterpart. We estimate that FAKE stereo copies of this album outnumber monos by a ratio of at least 10:1.

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

·       COVER (this is the original, withdrawn [deleted], cover)

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

The following flaws or imperfections are noted on the cover:

-        Cover has a partially split top seam (between 2 and 4 inches  / 5 to 10 centimeters)

-        Cover has a partially split spine (between 4 and 6 inches  / 10 to 15 centimeters)

-         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 JUST A HINT of yellowing on back side, apparently from aging.

-         Cover has a visible "wrinkle"(crease)  in one of the corners.

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

-         Cover has some fraying/wear along the spine

-         Cover has a few tiny wrinkles along the spine

NO OTHER IMPERFECTIONS ON THE COVER:

-        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 writing

-        No stamps

-        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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