Mark Harvey & Friends Duets RARE SIGNED LP Vinyl NM Very Nice Original Group

$

150

Click here to see item description. Album Info

This is the LP Mark Harvey & Friends "Duets”   Catalog # A11  Aardmuse Records 1981.

 

 

 

Jacket (NM-)  There is some very light corner/ring wear. Some light discolor.   No rips or tears.  No seam splits on spine or other sides.   Nice images. Original credits and synopsis insert is included.  Comes with protective plastic sleeve.

 

 

Inner Sleeve/LP (NM) Plain inner sleeves.  Red with black text label.  Labels are clean and sharp.  Vinyl has some light sleeve abrasions only. Stray crackle at most.   No deep scratches.  No skips or repeats. Beautiful playback. A lost free jazz classic. 

 

 

 Note: Record jacket is personally signed by Mark, Tom, Craig and Peter

 

 

 

 

Of interest: His wife is Kate Matson, a visual artist and filmmaker.  His mother was Marjorie Tolley Harvey, born in 1909 in Binghamton, NY (d. 1991), and his father was Robert Mark Harvey, born in 1908 in Waterville, NY (d.1977).  Both were musicians and encouraged his musical development. Harvey received a solid musical education through private lessons in both trumpet and piano from age 10  and in the Binghamton public schools, playing in orchestras, concert and marching bands, as well as jazz bands.  

His fascination with big bands began at the age of 14 while a member of the Roberson Cultural Center's jazz ensemble, modeled on the Newport Youth Band.  Important teachers were Jack Peters, who led the Roberson group, Bernard Shifrin, his high school band director and private trumpet instructor, and Don Grey, his private jazz piano instructor.   While at Syracuse University (BA in American studies, 1968), he played with the "unofficial" school big band led by Steve Marconi and Howie Wyeth and began his composing career, writing two jazz liturgical services which he conducted in Hendricks Chapel.  His BA thesis was a study of jazz and religion.  He moved to Boston, MA in 1968 to begin theological studies at Boston University School of Theology (Th.M, 1971), and concurrently studied with both Jaki Byard and George Russell at the New  England Conservatory of Music (1970-1972), major influences on his musical thinking.   

During this time, and in the years following as he pursued doctoral studies at Boston University (Ph.D in religious and theological studies, 1983), and received ordination in the United Methodist Church (deacon, 1970; elder, 1975), he founded the Jazz/Arts Ministry.  This was based at Old West Church (1969-1973), the Church of the Covenant (1973-1975), Emmanuel Church (1975- 1992), all in Boston, and at the Harvard-Epworth United Methodist Church, Cambridge, MA (1992--present).  Modeled on the work of a key mentor and friend, the Reverend John  Garcia Gensel, for many years pastor to New York's jazz community, and later advised by another key mentor and friend, the Reverend Al Kershaw, rector of Emmanuel Church, this ministry was an outreach to musicians and the musical community, offering counseling, performing marriages and funerals, and presenting such activities as jazz liturgies, the weekly Jazz Celebrations concert series, and an annual Jazz All Night concert. He also founded the Jazz Coalition, Inc., a  non--profit organization which produced the annual Boston Jazz Week festivals and enabled the JazzEd Program, founded by Arni Cheatham,  especially during Boston's desegregation process in the mid-1970s. 

 In 1983, through the Jazz Coalition, Harvey wrote the commissioning grant and produced the world premier of George Russell's Grammy-nominated "African Game" composition.  * From the 1980s to the present, he  has been a member of numerous boards and committees on the Boston  arts, religion, and culture scene. (Jazz)   

Notes Grading Payment & Shipping Returns Fine Print Notes Grading Payment & Shipping Returns Fine Print

****SALEM ATTIC NOTES**** 

All records are inspected beforehand.  If they need a cleaning, I do so. I use a spin clean unit, that does a good job. Sometimes it does not get out the real tough stuff, so I do that by hand if need be. I check the vinyl for scratches, blemishes, warps, sleeve rash etc..  If the condition of the record is anything but new I will give it a full listen with a pretty decent pair of Pioneer headphones.

 I will give you the details of what I find in the album info. I give all the jackets a dusting regardless. If the jacket is dirty or stained and can be cleaned without damaging it, I will do that as well. When I am done the LP & jacket go into a 2 mil protective clear plastic sleeve. The standard way I store and ship is with the LP/inner sleeve behind the jacket to prevent spine split, ring wear etc...to the jacket.  During mailing each LP is put between two cardboard record pads and then inside the record mailer. Everything is stamped fragile but if your local PO/Mail Carrier is not the gentlest, let me know and I take that into account when packing. 

 

 

 

My record grading system.  This is a BASELINE.  I will put the specifics of each jacket and vinyl into the product description itself. 

 

 

 

 

Mint (M) 

 

(Jacket) There will be no flaws. The jacket will be factory sealed with perfect or close to perfect corners. 

 

(LP) The vinyl itself should be without flaws since the jacket surrounding it has never been opened. 

 

 

 

 

Mint Minus (M-) 

 

(Jacket) The jacket will most likely be sealed in original shrink, but there may be some shrink missing. There may be slight wear from storage at the corners.

 

(LP) The vinyl itself should be without flaws since the jacket surrounding it has never been opened. 

 

 

 

 

 

 

Near Mint (NM) 

 

(Jacket) If the jacket is sealed there may be some minor corner damage from storage, it may have some torn shrink-wrap. The corners may show some storage wear. If not sealed the cover will show no more than very minor corner wear.  Creasing will also be minute at most.  There will be no visible ring wear. No writing, rips or tears on the cover or seams. No bubbling, water/mold stains or peeling of the cover in any way. The inside of the gate-fold will be in the same condition.  Cutout bin punches, price stickers, staples would start being listed at the NM category and would be noted accordingly as they affect the jacket itself.

 

(LP) You should not hear any surface noise (snaps,crackles, pops) when you play the record. There will not be any skips or repeats. The LP will retain that just opened appearance. There may be some light sleeve abrasions but they will not have any affect on the sound. There will be no warping. There will be no major surface blemishes, light or deep scratches. The label will be free of writing and stains. There should be no stand out spindle marks. 

 

 

 

 

Near Mint Minus (NM-) 

 

(Jacket) May or may not have shrink-wrap but the jacket itself will still be in beautiful condition. The corners will have minimal wear (no fraying). There may be minor dents and creases. Light scratches could be on the jacket, but nothing severe that defaces the artwork. Depending on age some discolor/yellowing may show, but will not be overbearing.  Ring wear should be minimal ( at the top and bottom pressure points) or non-existent...no dark, full, half, or quarter rings. No writing rips or tears. No bubbling, water stains or peeling of the cover . All inner gate-folds will be in similar condition. 

 

(LP) You should not hear any sustained surface noise (snaps,crackles, pops) when you play the record. There will not be any skips or repeats. There may be a few surface blemishes, or a stray light scratch that may cause a moment of crackling, but nothing prolonged, and instances of this will be few. Often this will mostly occur only at the beginning of the groove on each side where the needle dropped. There will not be any significant warping. There will be no deep scratches. There may be minor spotting or fog (bag rash), but it will not affect the sound. The label will be free of writing and stains. Minimal spindle marks only. 

 

 

 

 

 

Very Good Plus (VG+) 

 

(Jacket) May or may not have shrink wrap.  In this category it will be easier to see imperfections with the naked eye. though nothing that will detract from the overall appearance in a major way. The corners will have some wear and there may be the beginnings of fraying but not full on.  Some dents/creases or scratches may be noticeable, but nothing overly pronounced. There could be SOME noticeable discolor/yellowing on lighter parts of cover.  There may be some minor ring wear at the top and bottom, a bit more pronounced than NM-  but no full or half rings. There could be some pen marks but it would be minimal. Possibly some light bubbling.  No water/mold stains or tearing of the cover in any way. 

(LP) There may be some blemishes, maybe a few light scratches. It will not cause the record to skip or repeat. There will be no prolonged crackling or surface noise. There may be some minor warping but it will have no affect on the listening experience at all (and it will be noted in that instance). Chances are there will be some lighter spindle marks. A VG+ record will show some signs that it was played and handled by the previous owner BUT he or she took care of it. 

 

 

 

 

 

Very Good (VG/VG-) 

 

(Jacket) This jacket will have easily noticeable imperfections. The corners could show heavier wear and some fraying.  The jacket may have seam splits that may or may not have been taped. Ring wear will be noticeable to the naked eye, and may travel the length of the jacket.  There could be some writing (names, initials, notations next to songs) but no out an out defacing of the images on the cover. There could be some bubbling, some small tears on the top paper layer (again no destruction of main images)   

(LP) There will be surface blemishes, and most likely some scratches. The scratches could be feel-able as well. There could be a skip or repeat, but only one or two at most. More often the deeper scratches will cause more frequent and prolonged surface noise. Crackling may be noticed on more than just quiet parts of the play-back. There may be some warping but it will not cause the needle to jump (and will be noted if present). Chances are there will be spindle marks. A VG/VG- record will obviously have been played a good amount and possibly handled roughly by the original owner. 

 

 

 

 

(Fair/Poor) 

 

(Jacket) This jacket will have easily noticeable imperfections. The corners could show heavy wear and fraying.  The jacket may have seam splits on multiple sides that may or may not have been taped. Ring wear will be noticeable to the naked eye, and may travel the length of the jacket.  The vinyl may not be able to stay in the jacket without falling out.  The jacket may be severely water or mold stained. There could be dents, large scratches or rips on the cover. It could have severe, blister-like bubbling.  Sometimes it may have full cover writing with doodles and artwork defacing. The corners may be completely worn. 

 

(LP) A record in Fair condition can be put onto a turntable and should be playable. There will be multiple deeper and feel-able scratches that will make for significant surface noise (snaps and crackles & pops) and also cause skips and/or repeats.  Spindle marks will be present. Heavy groove wear may also be visible. Simply put a POOR condition record would have MANY issues and would be sold mostly for it's 'rare status'.

 

 

 

Note****If posters, booklets and other inserts are included with any of the records,  their inclusion and condition will be noted ias well.

 

 

**** Payments****

 

All payments are done via paypal and should be done at the time of purchase. If you do not have paypal please contact me before purchasing to see if we can work out alternative payment method.

 

 

 

 

****Shipping****

 

 

1.) We do offer combined shipping. The first items shipping cost is $3.99, each additional item is $1.99. When you have finished purchasing and go to check out Ebay should automatically combine the order and give the discount. If this does not happen for whatever reason contact me and I will send you the invoice myself. 

 

2.) All orders go out withing 24 hours on regular business days and Saturdays. I ship every morning except for Sundays and holidays. 

 

3.) I will ship anywhere in the United States and US territories, APO, AE etc... 

 

4.) If you are from another country or are registered with eBay from another country you cannot bid on our items, unless you contact us directly and we work something out.

 

 

If you're not happy for whatever reason and want to return the record just let me know, returning it is not a problem.  Just send me an email from 'contact seller' and I will fix the problem or help you get the return started.

 

Two things to mention.....

 

1.) Please ship all returns back to us via US Postal service NOT UPS or FED EX as we use a PO box.

 

2.) Return address is as follows.....Salem Attic  P.O. Box 522 Peabody, Ma. 01960

 

 

 

****IMPORTANT****

 

If you are unhappy with your purchase we will help to make it right. Please do not leave a negative/neutral feedback or file a Paypal/E-bay dispute!  Records are not an exact science.  There are small variations in needles. players, environment, etc. If there is a problem let me know.  I will get back to you asap and will do my best to fix it.  

Salem Attic  2019

This is the LP Mark Harvey & Friends "Duets” Catalog # A11 Aardmuse Records 1981. Jacket (NM-) There is some very light corner/ring wear. Some light discolor. No rips or tears. No seam splits on spine or other sides. Nice images. Original credits and synopsis insert is included. Comes with protective plastic sleeve. Inner Sleeve/LP (NM) Plain inner sleeves. Red with black text label. Labels are clean and sharp. Vinyl has some light sleeve abrasions only. Stray crackle at most. No deep scratches. No skips or repeats. Beautiful playback. A lost free jazz classic. Note: Record jacket is personally signed by Mark, Tom, Craig and Peter Of interest: His wife is Kate Matson, a visual artist and filmmaker. His mother was Marjorie Tolley Harvey, born in 1909 in Binghamton, NY (d. 1991), and his father was Robert Mark Harvey, born in 1908 in Waterville, NY (d.1977). Both were musicians and encouraged his musical development. Harvey received a solid musical education through private lessons in both trumpet and piano from age 10 and in the Binghamton public schools, playing in orchestras, concert and marching bands, as well as jazz bands. His fascination with big bands began at the age of 14 while a member of the Roberson Cultural Center's jazz ensemble, modeled on the Newport Youth Band. Important teachers were Jack Peters, who led the Roberson group, Bernard Shifrin, his high school band director and private trumpet instructor, and Don Grey, his private jazz piano instructor. While at Syracuse University (BA in American studies, 1968), he played with the "unofficial" school big band led by Steve Marconi and Howie Wyeth and began his composing career, writing two jazz liturgical services which he conducted in Hendricks Chapel. His BA thesis was a study of jazz and religion. He moved to Boston, MA in 1968 to begin theological studies at Boston University School of Theology (Th.M, 1971), and concurrently studied with both Jaki Byard and George Russell at the New England Conservatory of Music (1970-1972), major influences on his musical thinking. During this time, and in the years following as he pursued doctoral studies at Boston University (Ph.D in religious and theological studies, 1983), and received ordination in the United Methodist Church (deacon, 1970; elder, 1975), he founded the Jazz/Arts Ministry. This was based at Old West Church (1969-1973), the Church of the Covenant (1973-1975), Emmanuel Church (1975- 1992), all in Boston, and at the Harvard-Epworth United Methodist Church, Cambridge, MA (1992--present). Modeled on the work of a key mentor and friend, the Reverend John Garcia Gensel, for many years pastor to New York's jazz community, and later advised by another key mentor and friend, the Reverend Al Kershaw, rector of Emmanuel Church, this ministry was an outreach to musicians and the musical community, offering counseling, performing marriages and funerals, and presenting such activities as jazz liturgies, the weekly Jazz Celebrations concert series, and an annual Jazz All Night concert. He also founded the Jazz Coalition, Inc., a non--profit organization which produced the annual Boston Jazz Week festivals and enabled the JazzEd Program, founded by Arni Cheatham, especially during Boston's desegregation process in the mid-1970s. In 1983, through the Jazz Coalition, Harvey wrote the commissioning grant and produced the world premier of George Russell's Grammy-nominated "African Game" composition. * From the 1980s to the present, he has been a member of numerous boards and committees on the Boston arts, religion, and culture scene. (Jazz) Album Info Click here to see item description.

This is the LP Mark Harvey & Friends "Duets”   Catalog # A11  Aardmuse Records 1981.

 

 

 

Jacket (NM-)  There is some very light corner/ring wear. Some light discolor.   No rips or tears.  No seam splits on spine or other sides.   Nice images. Original credits and synopsis insert is included.  Comes with protective plastic sleeve.

 

 

Inner Sleeve/LP (NM) Plain inner sleeves.  Red with black text label.  Labels are clean and sharp.  Vinyl has some light sleeve abrasions only. Stray crackle at most.   No deep scratches.  No skips or repeats. Beautiful playback. A lost free jazz classic. 

 

 

 Note: Record jacket is personally signed by Mark, Tom, Craig and Peter

 

 

 

 

Of interest: His wife is Kate Matson, a visual artist and filmmaker.  His mother was Marjorie Tolley Harvey, born in 1909 in Binghamton, NY (d. 1991), and his father was Robert Mark Harvey, born in 1908 in Waterville, NY (d.1977).  Both were musicians and encouraged his musical development. Harvey received a solid musical education through private lessons in both trumpet and piano from age 10  and in the Binghamton public schools, playing in orchestras, concert and marching bands, as well as jazz bands.  

His fascination with big bands began at the age of 14 while a member of the Roberson Cultural Center's jazz ensemble, modeled on the Newport Youth Band.  Important teachers were Jack Peters, who led the Roberson group, Bernard Shifrin, his high school band director and private trumpet instructor, and Don Grey, his private jazz piano instructor.   While at Syracuse University (BA in American studies, 1968), he played with the "unofficial" school big band led by Steve Marconi and Howie Wyeth and began his composing career, writing two jazz liturgical services which he conducted in Hendricks Chapel.  His BA thesis was a study of jazz and religion.  He moved to Boston, MA in 1968 to begin theological studies at Boston University School of Theology (Th.M, 1971), and concurrently studied with both Jaki Byard and George Russell at the New  England Conservatory of Music (1970-1972), major influences on his musical thinking.   

During this time, and in the years following as he pursued doctoral studies at Boston University (Ph.D in religious and theological studies, 1983), and received ordination in the United Methodist Church (deacon, 1970; elder, 1975), he founded the Jazz/Arts Ministry.  This was based at Old West Church (1969-1973), the Church of the Covenant (1973-1975), Emmanuel Church (1975- 1992), all in Boston, and at the Harvard-Epworth United Methodist Church, Cambridge, MA (1992--present).  Modeled on the work of a key mentor and friend, the Reverend John  Garcia Gensel, for many years pastor to New York's jazz community, and later advised by another key mentor and friend, the Reverend Al Kershaw, rector of Emmanuel Church, this ministry was an outreach to musicians and the musical community, offering counseling, performing marriages and funerals, and presenting such activities as jazz liturgies, the weekly Jazz Celebrations concert series, and an annual Jazz All Night concert. He also founded the Jazz Coalition, Inc., a  non--profit organization which produced the annual Boston Jazz Week festivals and enabled the JazzEd Program, founded by Arni Cheatham,  especially during Boston's desegregation process in the mid-1970s. 

 In 1983, through the Jazz Coalition, Harvey wrote the commissioning grant and produced the world premier of George Russell's Grammy-nominated "African Game" composition.  * From the 1980s to the present, he  has been a member of numerous boards and committees on the Boston  arts, religion, and culture scene. (Jazz)   

Notes

****SALEM ATTIC NOTES**** 

All records are inspected beforehand.  If they need a cleaning, I do so. I use a spin clean unit, that does a good job. Sometimes it does not get out the real tough stuff, so I do that by hand if need be. I check the vinyl for scratches, blemishes, warps, sleeve rash etc..  If the condition of the record is anything but new I will give it a full listen with a pretty decent pair of Pioneer headphones.

 I will give you the details of what I find in the album info. I give all the jackets a dusting regardless. If the jacket is dirty or stained and can be cleaned without damaging it, I will do that as well. When I am done the LP & jacket go into a 2 mil protective clear plastic sleeve. The standard way I store and ship is with the LP/inner sleeve behind the jacket to prevent spine split, ring wear etc...to the jacket.  During mailing each LP is put between two cardboard record pads and then inside the record mailer. Everything is stamped fragile but if your local PO/Mail Carrier is not the gentlest, let me know and I take that into account when packing. 

Grading

 

 

 

My record grading system.  This is a BASELINE.  I will put the specifics of each jacket and vinyl into the product description itself. 

 

 

 

 

Mint (M) 

 

(Jacket) There will be no flaws. The jacket will be factory sealed with perfect or close to perfect corners. 

 

(LP) The vinyl itself should be without flaws since the jacket surrounding it has never been opened. 

 

 

 

 

Mint Minus (M-) 

 

(Jacket) The jacket will most likely be sealed in original shrink, but there may be some shrink missing. There may be slight wear from storage at the corners.

 

(LP) The vinyl itself should be without flaws since the jacket surrounding it has never been opened. 

 

 

 

 

 

 

Near Mint (NM) 

 

(Jacket) If the jacket is sealed there may be some minor corner damage from storage, it may have some torn shrink-wrap. The corners may show some storage wear. If not sealed the cover will show no more than very minor corner wear.  Creasing will also be minute at most.  There will be no visible ring wear. No writing, rips or tears on the cover or seams. No bubbling, water/mold stains or peeling of the cover in any way. The inside of the gate-fold will be in the same condition.  Cutout bin punches, price stickers, staples would start being listed at the NM category and would be noted accordingly as they affect the jacket itself.

 

(LP) You should not hear any surface noise (snaps,crackles, pops) when you play the record. There will not be any skips or repeats. The LP will retain that just opened appearance. There may be some light sleeve abrasions but they will not have any affect on the sound. There will be no warping. There will be no major surface blemishes, light or deep scratches. The label will be free of writing and stains. There should be no stand out spindle marks. 

 

 

 

 

Near Mint Minus (NM-) 

 

(Jacket) May or may not have shrink-wrap but the jacket itself will still be in beautiful condition. The corners will have minimal wear (no fraying). There may be minor dents and creases. Light scratches could be on the jacket, but nothing severe that defaces the artwork. Depending on age some discolor/yellowing may show, but will not be overbearing.  Ring wear should be minimal ( at the top and bottom pressure points) or non-existent...no dark, full, half, or quarter rings. No writing rips or tears. No bubbling, water stains or peeling of the cover . All inner gate-folds will be in similar condition. 

 

(LP) You should not hear any sustained surface noise (snaps,crackles, pops) when you play the record. There will not be any skips or repeats. There may be a few surface blemishes, or a stray light scratch that may cause a moment of crackling, but nothing prolonged, and instances of this will be few. Often this will mostly occur only at the beginning of the groove on each side where the needle dropped. There will not be any significant warping. There will be no deep scratches. There may be minor spotting or fog (bag rash), but it will not affect the sound. The label will be free of writing and stains. Minimal spindle marks only. 

 

 

 

 

 

Very Good Plus (VG+) 

 

(Jacket) May or may not have shrink wrap.  In this category it will be easier to see imperfections with the naked eye. though nothing that will detract from the overall appearance in a major way. The corners will have some wear and there may be the beginnings of fraying but not full on.  Some dents/creases or scratches may be noticeable, but nothing overly pronounced. There could be SOME noticeable discolor/yellowing on lighter parts of cover.  There may be some minor ring wear at the top and bottom, a bit more pronounced than NM-  but no full or half rings. There could be some pen marks but it would be minimal. Possibly some light bubbling.  No water/mold stains or tearing of the cover in any way. 

(LP) There may be some blemishes, maybe a few light scratches. It will not cause the record to skip or repeat. There will be no prolonged crackling or surface noise. There may be some minor warping but it will have no affect on the listening experience at all (and it will be noted in that instance). Chances are there will be some lighter spindle marks. A VG+ record will show some signs that it was played and handled by the previous owner BUT he or she took care of it. 

 

 

 

 

 

Very Good (VG/VG-) 

 

(Jacket) This jacket will have easily noticeable imperfections. The corners could show heavier wear and some fraying.  The jacket may have seam splits that may or may not have been taped. Ring wear will be noticeable to the naked eye, and may travel the length of the jacket.  There could be some writing (names, initials, notations next to songs) but no out an out defacing of the images on the cover. There could be some bubbling, some small tears on the top paper layer (again no destruction of main images)   

(LP) There will be surface blemishes, and most likely some scratches. The scratches could be feel-able as well. There could be a skip or repeat, but only one or two at most. More often the deeper scratches will cause more frequent and prolonged surface noise. Crackling may be noticed on more than just quiet parts of the play-back. There may be some warping but it will not cause the needle to jump (and will be noted if present). Chances are there will be spindle marks. A VG/VG- record will obviously have been played a good amount and possibly handled roughly by the original owner. 

 

 

 

 

(Fair/Poor) 

 

(Jacket) This jacket will have easily noticeable imperfections. The corners could show heavy wear and fraying.  The jacket may have seam splits on multiple sides that may or may not have been taped. Ring wear will be noticeable to the naked eye, and may travel the length of the jacket.  The vinyl may not be able to stay in the jacket without falling out.  The jacket may be severely water or mold stained. There could be dents, large scratches or rips on the cover. It could have severe, blister-like bubbling.  Sometimes it may have full cover writing with doodles and artwork defacing. The corners may be completely worn. 

 

(LP) A record in Fair condition can be put onto a turntable and should be playable. There will be multiple deeper and feel-able scratches that will make for significant surface noise (snaps and crackles & pops) and also cause skips and/or repeats.  Spindle marks will be present. Heavy groove wear may also be visible. Simply put a POOR condition record would have MANY issues and would be sold mostly for it's 'rare status'.

 

 

 

Note****If posters, booklets and other inserts are included with any of the records,  their inclusion and condition will be noted ias well.

Payment & Shipping

 

 

**** Payments****

 

All payments are done via paypal and should be done at the time of purchase. If you do not have paypal please contact me before purchasing to see if we can work out alternative payment method.

 

 

 

 

****Shipping****

 

 

1.) We do offer combined shipping. The first items shipping cost is $3.99, each additional item is $1.99. When you have finished purchasing and go to check out Ebay should automatically combine the order and give the discount. If this does not happen for whatever reason contact me and I will send you the invoice myself. 

 

2.) All orders go out withing 24 hours on regular business days and Saturdays. I ship every morning except for Sundays and holidays. 

 

3.) I will ship anywhere in the United States and US territories, APO, AE etc... 

 

4.) If you are from another country or are registered with eBay from another country you cannot bid on our items, unless you contact us directly and we work something out.

Returns

 

 

If you're not happy for whatever reason and want to return the record just let me know, returning it is not a problem.  Just send me an email from 'contact seller' and I will fix the problem or help you get the return started.

 

Two things to mention.....

 

1.) Please ship all returns back to us via US Postal service NOT UPS or FED EX as we use a PO box.

 

2.) Return address is as follows.....Salem Attic  P.O. Box 522 Peabody, Ma. 01960

Fine Print

 

 

 

****IMPORTANT****

 

If you are unhappy with your purchase we will help to make it right. Please do not leave a negative/neutral feedback or file a Paypal/E-bay dispute!  Records are not an exact science.  There are small variations in needles. players, environment, etc. If there is a problem let me know.  I will get back to you asap and will do my best to fix it.  

Salem Attic  2019

This is the LP Mark Harvey & Friends "Duets”   Catalog # A11  Aardmuse Records 1981.

 

 

 

Jacket (NM-)  There is some very light corner/ring wear. Some light discolor.   No rips or tears.  No seam splits on spine or other sides.   Nice images. Original credits and synopsis insert is included.  Comes with protective plastic sleeve.

 

 

Inner Sleeve/LP (NM) Plain inner sleeves.  Red with black text label.  Labels are clean and sharp.  Vinyl has some light sleeve abrasions only. Stray crackle at most.   No deep scratches.  No skips or repeats. Beautiful playback. A lost free jazz classic. 

 

 

 Note: Record jacket is personally signed by Mark, Tom, Craig and Peter

 

 

 

 

Of interest: His wife is Kate Matson, a visual artist and filmmaker.  His mother was Marjorie Tolley Harvey, born in 1909 in Binghamton, NY (d. 1991), and his father was Robert Mark Harvey, born in 1908 in Waterville, NY (d.1977).  Both were musicians and encouraged his musical development. Harvey received a solid musical education through private lessons in both trumpet and piano from age 10  and in the Binghamton public schools, playing in orchestras, concert and marching bands, as well as jazz bands.  

His fascination with big bands began at the age of 14 while a member of the Roberson Cultural Center's jazz ensemble, modeled on the Newport Youth Band.  Important teachers were Jack Peters, who led the Roberson group, Bernard Shifrin, his high school band director and private trumpet instructor, and Don Grey, his private jazz piano instructor.   While at Syracuse University (BA in American studies, 1968), he played with the "unofficial" school big band led by Steve Marconi and Howie Wyeth and began his composing career, writing two jazz liturgical services which he conducted in Hendricks Chapel.  His BA thesis was a study of jazz and religion.  He moved to Boston, MA in 1968 to begin theological studies at Boston University School of Theology (Th.M, 1971), and concurrently studied with both Jaki Byard and George Russell at the New  England Conservatory of Music (1970-1972), major influences on his musical thinking.   

During this time, and in the years following as he pursued doctoral studies at Boston University (Ph.D in religious and theological studies, 1983), and received ordination in the United Methodist Church (deacon, 1970; elder, 1975), he founded the Jazz/Arts Ministry.  This was based at Old West Church (1969-1973), the Church of the Covenant (1973-1975), Emmanuel Church (1975- 1992), all in Boston, and at the Harvard-Epworth United Methodist Church, Cambridge, MA (1992--present).  Modeled on the work of a key mentor and friend, the Reverend John  Garcia Gensel, for many years pastor to New York's jazz community, and later advised by another key mentor and friend, the Reverend Al Kershaw, rector of Emmanuel Church, this ministry was an outreach to musicians and the musical community, offering counseling, performing marriages and funerals, and presenting such activities as jazz liturgies, the weekly Jazz Celebrations concert series, and an annual Jazz All Night concert. He also founded the Jazz Coalition, Inc., a  non--profit organization which produced the annual Boston Jazz Week festivals and enabled the JazzEd Program, founded by Arni Cheatham,  especially during Boston's desegregation process in the mid-1970s. 

 In 1983, through the Jazz Coalition, Harvey wrote the commissioning grant and produced the world premier of George Russell's Grammy-nominated "African Game" composition.  * From the 1980s to the present, he  has been a member of numerous boards and committees on the Boston  arts, religion, and culture scene. (Jazz)