Nat King Cole Hittin' The Ramp Early Years 10 LP MINT Vinyl Box Set HLP 9042

$

90

Click here to see item description. Album Info

Artist: Nat King Cole  

 

Album Title:  Hittin' The Ramp The Early Years (1936-1943)

 

Catalog Number: HLP 9042

 

Record Company: Resonance Records

 

Year released: 2019

 

 

 

 

Box/Jacket Condition: (NM/M)  Minor wear to outer box housing. All jackets are in new condition. No flaws.  

 

LP Condition: (M) Never played

 

 

 

 

 

Of interest:  Resonance Records, the Los Angeles-based independent jazz label noted for its historical releases, will issue its most ambitious release to date, the 10-LP Nat King Cole boxed set Hittin’ the Ramp: The Early Years (1936-1943) on November 1, 2019.

 

Succeeding critically acclaimed Resonance archival collections devoted to previously unheard recordings by Bill Evans, Wes Montgomery, Sarah Vaughan, and other eminent jazz performers, Hittin’ the Ramp offers the first in-depth survey of singer-pianist Cole’s work in the years preceding his long hit-making tenure at Capitol Records.

 

“This is a really important project for Resonance,” says Zev Feldman, label co-president and the set’s co-producer. “We’ve done some pretty substantial packages over the years, such as our three-disc Eric Dolphy and Jaco Pastorius sets with 100-page booklets, but this Nat King Cole box is truly a definitive, king-sized set, clocking in at a staggering 10 LPs  worth of essential early Cole material with enhanced audio.” 

 

The expansive collection — which includes several previously unreleased studio sides, transcriptions, and private recordings — is the first major overview of Cole’s earliest work to be produced in conjunction with the musician’s estate.

 

“The Nat King Cole Estate is thrilled to be partnering with Resonance Records on this exciting collection of early recordings that showcase Nat’s extraordinary abilities as a jazz musician,” says Seth Berg of the Nat King Cole Estate. “The family is especially grateful for Resonance’s unwavering determination to preserve and present these pioneering recordings to the world.”

 

The set’s co-producer, writer and historian Will Friedwald – who received Grammy Award nominations for his work on Mosaic Records’ landmark 1992 box The Complete Capitol Recordings of the Nat King Cole Trio and the 1989 album Nat “King” Cole and the “King” Cole Trio – points out in his comprehensive notes to the collection that Cole’s deep and influential jazz roots were often obscured by his towering reputation as a pop singer.

“At the height of his fame in the 1950s and ‘60s,” he writes, “Nat King Cole (1919-1965) was primarily known as a popular singer — the biggest-selling artist of his generation, no less — who occasionally played piano. By that point, only a few older fans and critics remembered that he had been one of the greatest pianists in the whole history of American music, a true spiritual descendent of Earl ‘Fatha’ Hines and Art Tatum, and himself a huge inspiration for Oscar Peterson, George Shearing, Erroll Garner, and many others.”

 

Beyond Cole’s brilliance at the keyboard, the Resonance set takes in his dazzling work as a vocalist, and includes a new interview with the master pop singer Johnny Mathis, who discusses his debt to and friendship with his great predecessor.

“As a young boy, studying the art of vocalizing, Nat was everything I needed,” Mathis says. “All I did was listen and learn…And then I want [people] to remember that he also, also, also played the piano. Please, please, please remember that. Even as gigantic as a pianist as he was as a vocalist.”

 

Co-produced by Zev Feldman, Will Friedwald, Seth Berg, Matt Lutthans, and Jordan Taylor, and executive produced by Resonance co-president George Klabin, Hittin’ the Ramp homes in on Cole’s prodigious early career, beginning with the debut sides he recorded with his brother Eddie for Decca Records as a 17-year-old piano phenom in 1936.

The majority of the set’s nearly 200 tracks focus on the first work by the King Cole Trio, the seminal combo that put Cole on the map with a swinging combination of jazz, jive, and pop, with an emphasis on his simpatico creative partnership with the trio’s longtime guitarist Oscar Moore.

 

In his notes for the collection, guitarist Nick Rossi notes that Moore’s synthesis of such influences as George van Eps, Dick McDonough, Django Reinhardt, and Charlie Christian led to his “groundbreaking style, one which provided a template for how the guitar functions in a modern jazz setting.”

 

Hittin’ the Ramp compiles Cole’s recordings – among them the first versions of “Sweet Lorraine,” a staple of his ‘40s repertoire, and the R&B and pop hit “Straighten Up and Fly Right” – with his trio and in other studio settings (as sideman and accompanist) for Decca, Ammor, Excelsior, Premier, Mercury, and Philo (including a celebrated session for the latter label, founded by Norman Granz during the 1942 Musicians Union recording ban, with saxophonist Lester Young).

 

It also contains dozens of transcriptions, mainly by the trio, cut by Standard, Davis & Schwegler, and MacGregor for servicing to radio stations, as well as wartime recordings produced for American servicemen by the Armed Forces Radio Service.

 

The newly discovered selections include several performances that were not known to exist before research for the boxed set began. These include a privately recorded number, “The Romany Room is Jumping,” a homage to the titular Washington, D.C., club that hosted Cole’s group; the hitherto unheard Cinematone transcription “Trompin’”; and an unreleased 1940 trio rendering of Trummy Young’s “Whatcha’ Know Joe.”

“Although nothing on this package can be described as ‘common,’ these are some of the rarest Cole items known to exist,” Friedwald writes.

He adds, “Just in time for his centennial, we cover this quintessential American artist from his very first stirrings at the start of the swing era to the very precipice of universal fame during World War Two, with dozens of fascinating detours along the way. This, then, is the incredible but true origin story of a sound and a career that would change the world.”

 

 

 

Tracklist: 

1-A1 Honey Hush 2:52

1-A2 Stompin' At The Panama (Skoller's Shuffle) 2:59

1-A3 Bedtime (Sleepy Moan) 2:54

1-A4 Thunder 2:50

1-A5 Mutiny In The Nursery 2:52

1-A6 F.D.R. Jones 3:10

1-A7 The Sheik Of Araby 2:17

1-A8 The Blue Danube 2:50

1-A9 Button, Button 2:52

 

1-B1 Jingle Bells 2:35

1-B2 Swanee River 2:28

1-B3 With Plenty Of Money And You 2:15

1-B4 Don't Blame Me 2:26

1-B5 Lullaby In Rhythm 2:48

1-B6 Dark Rapture 3:13

1-B7 The Wiggly Walk 2:52

1-B8 Flea Hop 2:43

1-B9 Chopsticks 2:44

1-B10 Patty Cake, Patty Cake 2:43

 

2-A1 Blue Skies 2:09

2-A2 Liza 2:58

2-A3 Three Blind Mice 2:08

2-A4 Caravan 2:17

2-A5 There's No Anesthetic For Love 3:15

2-A6 Dixie Jamboree 3:04

2-A7 Ta-De-Ah 2:39

2-A8 Riffin' At The Bar-B-Q 2:05

2-A9 Harlem Swing 2:30

2-A10 I Lost Control Of Myself 3:16

2-B1 The Land Of Make Believe 2:52

2-B2 That Please-Be-Mineable Feeling 2:15

2-B3 Dancing In The Street 3:09

2-B4 You're So Different 3:02

2-B5 I Wouldn't Have Known It 2:33

2-B6 Let's Get Happy 2:18

2-B7 Undecided 2:26

2-B8 'Taint What You Do 2:53

2-B9 Do You Wanna Jump, Children 2:46

2-B10 Riffin' In F Minor 2:06

 

3-A1 Ol' Man Mose Ain't Dead 3:30

3-A2 Blue Lou 3:01

3-A3 Honey 2:11

3-A4 Russian Lullaby 2:07

3-A5 Georgie Porgie 2:23

3-A6 The Limp 2:52

3-A7 Snug As A Bug In A Rug 2:35

3-A8 Liebstraum 3:23

3-A9 Fidgety Joe 2:57

3-B1 Two Against One 3:00

3-B2 Some Like It Hot 3:09

3-B3 Crazy Rhythm 2:00

3-B4 Moonglow 2:57

3-B5 Don't Let That Moon Get Away 2:45

3-B6 My Blue Heaven 1:36

3-B7 I Was Doing All Right 2:17

3-B8 I Can't Get Started 2:41

3-B9 Old Man Moon 2:16

3-B10 Carry Me Back To Old Virginny 2:14

 

4-A1 Moon Song 3:09

4-A2 Baby, Won't You Please Come Home 2:20

4-A3 Rosetta 2:11

4-A4 Trompin' 2:46

4-A5 You're My Life 2:54

4-A6 Hoy Soy 2:33

4-A7 Take 'Em 2:24

4-A8 Scategoria 2:32

4-A9 Rhythm Serenade 2:35

4-A10 Rib Town Shuffle 2:46

4-B1 Music'll Chase Your Blues Away 2:01

4-B2 I'll Gather Up My Memories 3:34

4-B3 A Fool's Affair 3:34

4-B4 Jump, Jack, Jump 2:47

4-B5 I Knew A Time 3:05

4-B6 Mine You'll Always Be 3:19

4-B7 Doin' The Bow Wow 2:44

4-B8 Lilla Mae 2:18

 

5-A1 I Like To Riff 2:49

5-A2 On The Sunny Side Of The Street 2:55

5-A3 Black Spider Stomp 2:40

5-A4 By The River St. Marie 2:25

5-A5 Slew Foot Joe 2:14

5-A6 1-2-3-4 2:09

5-A7 Crazy 'Bout Rhythm 2:04

5-A8 Off The Beam 2:18

5-A9 King Cole Blues 2:07

5-A10 Jivin' With The Notes 2:01

5-A11 Never Mind, Baby 1:45

5-B1 I'm A Perfect Fool Over You 2:38

5-B2 Lovely Little Person 2:23

5-B3 Love Me Sooner 2:32

5-B4 Sentimental Blue 2:44

5-B5 Goin' To Town With Honey 2:21

5-B6 Syncopated Lullaby 1:51

5-B7 Falling In And Out Of Love 1:50

5-B8 Let's Do Things 2:01

5-B9 Jumpy Jitters 1:51

5-B10 Nothing Ever Happens 2:35

5-B11 What'cha Doin' To My Heart 1:37

 

6-A1 Bedtime 2:45

6-A2 Honey Hush 2:18

6-A3 French Toast 2:15

6-A4 Vine Street Jump 2:43

6-A5 B Flat 2:32

6-A6 You Send Me 2:11

6-A7 Love Is My Alibi 3:13

6-A8 Pogo Stick Bounce 2:19

6-A9 Whatcha' Know, Joe? 2:36

6-A10 Sweet Lorraine 2:57

6-B1 Honeysuckle Rose 2:34

6-B2 Gone With The Draft 2:44

6-B3 This Side Up 2:49

6-B4 Jumpin' With The Mop 2:26

6-B5 Jam Man 2:05

6-B6 Let's Try Again 3:05

6-B7 Fudge Wudge 3:51

6-B8 Smokey Joe 1:58

6-B9 Windy City Boogie Woogie 2:26

6-B10 Ode To A Wild Clam 2:26

 

7-A1 Let's Try Again 3:10

7-A2 Whatcha' Know, Joe? 2:12

7-A3 Lazy River 1:46

7-A4 Georgia On My Mind 2:45

7-A5 Rockin' Chair 3:13

7-A6 A Little Jive Is Good For You 3:41

7-A7 You've Changed 3:05

7-B1 Babs 2:27

7-B2 Scotchin' With The Soda 2:35

7-B3 Slow Down 3:09

7-B4 Early Morning Blues 2:46

7-B5 The Romany Room Is Jumpin' 2:30

7-B6 This Will Make You Laugh 3:14

7-B7 Stop! The Red Light's On 2:39

7-B8 Hit The Ramp 3:21

7-B9 I Like To Riff 2:48

 

8-A1 Call The Police 3:05

8-A2 Are You Fer It? 3:08

8-A3 That Ain't Right 3:14

8-A4 Hit That Jive, Jack 2:59

8-A5 Indiana 4:53

8-A6 I Can't Get Started 4:55

8-B1 Tea For Two 4:47

8-B2 Body And Soul 5:13

8-B3 Vom, Vim, Veedle 3:02

8-B4 All For You 3:28

8-B5 Hip Hop Hurray 2:24

8-B6 I Know That You Know 2:10

8-B7 I'm Gonna Move To The Outskirts Of Town 3:44

 

9-A1 Pitchin' Up A Boogie 3:14

9-A2 I'm Lost 3:19

9-A3 Beautiful Moons Ago 2:27

9-A4 Let's Spring One 2:43

9-A5 Slender, Tender, And Tall 2:06

9-A6 I've Found A New Baby 4:44

9-A7 Rosetta 5:10

9-B1 Sweet Lorraine 4:56

9-B2 I Blowed And Gone 4:47

9-B3 Solid Potato Salad 2:07

9-B4 F.S.T. (Fine, Sweet & Tasty) 3:07

9-B5 Got A Penny 2:37

9-B6 Let's Pretend 3:18

9-B7 My Lips Remember Your Kisses 3:11

9-B8 I'm An Errand Boy For Rhythm 1:51

9-B9 Straighten Up And Fly Right 2:45

 

10-A1 Honey Hush 2:47

10-A2 By The River St. Marie 2:12

10-A3 I Like To Riff 2:33

10-A4 Black Spider Stomp 2:54

10-A5 Sweet Lorraine 3:23

10-A6 Early Morning Blues 2:53

10-A7 Gone With The Draft 2:22

10-A8 Trompin' 1:48

10-A9 Sweet Lorraine 2:57

10-A10 Gone With The Draft 2:41

10-B1 Scotchin' With The Soda 2:25

10-B2 Gone With The Draft 2:28

10-B3 The Romany Room Is Jumpin' 2:33

10-B4 Hit That Jive, Jack 2:16

10-B5 Beautiful Moons Ago 3:36

10-B6 Honeysuckle Rose 3:20

10-B7 I Know That You Know 2:53

10-B8 Solid Potato Salad 2:14

10-B9 My Lips Remember Your Kisses 3:07

10-B10 Straighten Up And Fly Right 2:52

Notes Grading Shipping Fine Print Notes Grading Shipping 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 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  storage wear only. It may have some torn shrink-wrap. There may also be some discolor or ring wear to the actual shrink-wrap (not jacket itself) from age.  If not sealed the cover will show no more than very minor storage wear.  

(LP) You should not hear any surface noise (snaps, crackles, pops) when you play the record. There will not be any skips/repeats. The LP visually will retain that just opened appearance. There may be some light sleeve abrasions but they will not have any affect on the sound. 

Near Mint Minus (NM-) 

(Jacket) May or may not have shrink-wrap, but the jacket itself will still be in great condition. It may have minimal corner wear.  There may be minor scuffs and/or creases. Depending on age, some discolor/yellowing may show, but will be minor.  If ring wear is present,  it will be minimal ( at the top and bottom pressure points) .no full, half, or quarter rings.  

(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 or two of pops or minor crackling, but nothing prolonged, and instances of this will be few (usually at beginning or end of groove). There will not be any significant warping that would affect sound in any way. 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. 

Excellent (EX)

(Jacket) Similar to NM- but a few more minor flaws.  Usually too good to list it at VG+ but not quite up to snuff for NM-. For example there may be a bit more corner wear, A few more scuffs and creases. Possibly writing on cover (would be faded or minimally noticeable).  Ring wear may be slightly more noticebale than NM- but not enought to bring it down to a VG+ grade. Cover swould still have a nice luster to it.  

(LP) Again very similar to NM-. What would drop this down to an EX from NM- would be a bit more crackling or a few pops than the better grade. Might be some surface noise between tracks, or a more pronounced at the beginning and end of groove where the needle was put on/taken off vinyl.  Again, better than VG+, but not quite up to NM- status.  

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 a bit more noticeable discolor/yellowing on lighter parts of cover.  Maybe some seam splits (may or not be repaired). There may be some ring wear at the top and bottom, a bit more pronounced than NM- (quarter ring wear possibly)  but no full or half rings. There could be some writing, but it would be minimal. Possibly some light bubbling of the paper.  There would be nothing such as water/mold stains, stuck gate-fold, tearing or major defacing 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, pops or surface noise. There may be some lighter warping but it will have no affect on the listening experience at all (and it will be noted that it exists). Chances are there will be some 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) 

(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 destruction of main images. There could be some bubbling, posiible water stains, discolor etc...  Bottom line is the cover will not be destoryed, but will definitely have some issues.

(LP) There will be surface blemishes, and most likely some scratches. The scratches could be feel-able ones as well. There could be a skip or repeat, but only one or two at most. If there is any skips or repeats it will be noted. 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 a fair amount of spindle marks. A VG record will obviously have been played a good amount and possibly handled without the best care by the original owner, BUT will still be a listenable and enjoyable record. 

(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.  It may have full on seam splits to spine and other sides.  The jacket may be 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 quite worn. Rarely a jacket in this condition will  be listed in the first place. 

(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 may 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'. If it is in this condition it will only be listed if it is an playable condition, and imperfections will be noted.

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

****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. 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.

****IMPORTANT****

If you are unhappy with your purchase we will make it right. Please do not leave a negative/neutral feedback or file an E-bay dispute. Simply click on "contact seller" in the listing with your concern and we will get back to you asap.  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 fix it. We have thousands of customers, most are repeat customers and many we have had for over ten years. We value our reputation and we appreciate all of you.  

Salem Attic  2026

Artist: Nat King Cole Album Title: Hittin' The Ramp The Early Years (1936-1943) Catalog Number: HLP 9042 Record Company: Resonance Records Year released: 2019 Box/Jacket Condition: (NM/M) Minor wear to outer box housing. All jackets are in new condition. No flaws. LP Condition: (M) Never played Of interest: Resonance Records, the Los Angeles-based independent jazz label noted for its historical releases, will issue its most ambitious release to date, the 10-LP Nat King Cole boxed set Hittin’ the Ramp: The Early Years (1936-1943) on November 1, 2019. Succeeding critically acclaimed Resonance archival collections devoted to previously unheard recordings by Bill Evans, Wes Montgomery, Sarah Vaughan, and other eminent jazz performers, Hittin’ the Ramp offers the first in-depth survey of singer-pianist Cole’s work in the years preceding his long hit-making tenure at Capitol Records. “This is a really important project for Resonance,” says Zev Feldman, label co-president and the set’s co-producer. “We’ve done some pretty substantial packages over the years, such as our three-disc Eric Dolphy and Jaco Pastorius sets with 100-page booklets, but this Nat King Cole box is truly a definitive, king-sized set, clocking in at a staggering 10 LPs worth of essential early Cole material with enhanced audio.” The expansive collection — which includes several previously unreleased studio sides, transcriptions, and private recordings — is the first major overview of Cole’s earliest work to be produced in conjunction with the musician’s estate. “The Nat King Cole Estate is thrilled to be partnering with Resonance Records on this exciting collection of early recordings that showcase Nat’s extraordinary abilities as a jazz musician,” says Seth Berg of the Nat King Cole Estate. “The family is especially grateful for Resonance’s unwavering determination to preserve and present these pioneering recordings to the world.” The set’s co-producer, writer and historian Will Friedwald – who received Grammy Award nominations for his work on Mosaic Records’ landmark 1992 box The Complete Capitol Recordings of the Nat King Cole Trio and the 1989 album Nat “King” Cole and the “King” Cole Trio – points out in his comprehensive notes to the collection that Cole’s deep and influential jazz roots were often obscured by his towering reputation as a pop singer. “At the height of his fame in the 1950s and ‘60s,” he writes, “Nat King Cole (1919-1965) was primarily known as a popular singer — the biggest-selling artist of his generation, no less — who occasionally played piano. By that point, only a few older fans and critics remembered that he had been one of the greatest pianists in the whole history of American music, a true spiritual descendent of Earl ‘Fatha’ Hines and Art Tatum, and himself a huge inspiration for Oscar Peterson, George Shearing, Erroll Garner, and many others.” Beyond Cole’s brilliance at the keyboard, the Resonance set takes in his dazzling work as a vocalist, and includes a new interview with the master pop singer Johnny Mathis, who discusses his debt to and friendship with his great predecessor. “As a young boy, studying the art of vocalizing, Nat was everything I needed,” Mathis says. “All I did was listen and learn…And then I want [people] to remember that he also, also, also played the piano. Please, please, please remember that. Even as gigantic as a pianist as he was as a vocalist.” Co-produced by Zev Feldman, Will Friedwald, Seth Berg, Matt Lutthans, and Jordan Taylor, and executive produced by Resonance co-president George Klabin, Hittin’ the Ramp homes in on Cole’s prodigious early career, beginning with the debut sides he recorded with his brother Eddie for Decca Records as a 17-year-old piano phenom in 1936. The majority of the set’s nearly 200 tracks focus on the first work by the King Cole Trio, the seminal combo that put Cole on the map with a swinging combination of jazz, jive, and pop, with an emphasis on his simpatico creative partnership with the trio’s longtime guitarist Oscar Moore. In his notes for the collection, guitarist Nick Rossi notes that Moore’s synthesis of such influences as George van Eps, Dick McDonough, Django Reinhardt, and Charlie Christian led to his “groundbreaking style, one which provided a template for how the guitar functions in a modern jazz setting.” Hittin’ the Ramp compiles Cole’s recordings – among them the first versions of “Sweet Lorraine,” a staple of his ‘40s repertoire, and the R&B and pop hit “Straighten Up and Fly Right” – with his trio and in other studio settings (as sideman and accompanist) for Decca, Ammor, Excelsior, Premier, Mercury, and Philo (including a celebrated session for the latter label, founded by Norman Granz during the 1942 Musicians Union recording ban, with saxophonist Lester Young). It also contains dozens of transcriptions, mainly by the trio, cut by Standard, Davis & Schwegler, and MacGregor for servicing to radio stations, as well as wartime recordings produced for American servicemen by the Armed Forces Radio Service. The newly discovered selections include several performances that were not known to exist before research for the boxed set began. These include a privately recorded number, “The Romany Room is Jumping,” a homage to the titular Washington, D.C., club that hosted Cole’s group; the hitherto unheard Cinematone transcription “Trompin’”; and an unreleased 1940 trio rendering of Trummy Young’s “Whatcha’ Know Joe.” “Although nothing on this package can be described as ‘common,’ these are some of the rarest Cole items known to exist,” Friedwald writes. He adds, “Just in time for his centennial, we cover this quintessential American artist from his very first stirrings at the start of the swing era to the very precipice of universal fame during World War Two, with dozens of fascinating detours along the way. This, then, is the incredible but true origin story of a sound and a career that would change the world.” Tracklist: 1-A1 Honey Hush 2:52 1-A2 Stompin' At The Panama (Skoller's Shuffle) 2:59 1-A3 Bedtime (Sleepy Moan) 2:54 1-A4 Thunder 2:50 1-A5 Mutiny In The Nursery 2:52 1-A6 F.D.R. Jones 3:10 1-A7 The Sheik Of Araby 2:17 1-A8 The Blue Danube 2:50 1-A9 Button, Button 2:52 1-B1 Jingle Bells 2:35 1-B2 Swanee River 2:28 1-B3 With Plenty Of Money And You 2:15 1-B4 Don't Blame Me 2:26 1-B5 Lullaby In Rhythm 2:48 1-B6 Dark Rapture 3:13 1-B7 The Wiggly Walk 2:52 1-B8 Flea Hop 2:43 1-B9 Chopsticks 2:44 1-B10 Patty Cake, Patty Cake 2:43 2-A1 Blue Skies 2:09 2-A2 Liza 2:58 2-A3 Three Blind Mice 2:08 2-A4 Caravan 2:17 2-A5 There's No Anesthetic For Love 3:15 2-A6 Dixie Jamboree 3:04 2-A7 Ta-De-Ah 2:39 2-A8 Riffin' At The Bar-B-Q 2:05 2-A9 Harlem Swing 2:30 2-A10 I Lost Control Of Myself 3:16 2-B1 The Land Of Make Believe 2:52 2-B2 That Please-Be-Mineable Feeling 2:15 2-B3 Dancing In The Street 3:09 2-B4 You're So Different 3:02 2-B5 I Wouldn't Have Known It 2:33 2-B6 Let's Get Happy 2:18 2-B7 Undecided 2:26 2-B8 'Taint What You Do 2:53 2-B9 Do You Wanna Jump, Children 2:46 2-B10 Riffin' In F Minor 2:06 3-A1 Ol' Man Mose Ain't Dead 3:30 3-A2 Blue Lou 3:01 3-A3 Honey 2:11 3-A4 Russian Lullaby 2:07 3-A5 Georgie Porgie 2:23 3-A6 The Limp 2:52 3-A7 Snug As A Bug In A Rug 2:35 3-A8 Liebstraum 3:23 3-A9 Fidgety Joe 2:57 3-B1 Two Against One 3:00 3-B2 Some Like It Hot 3:09 3-B3 Crazy Rhythm 2:00 3-B4 Moonglow 2:57 3-B5 Don't Let That Moon Get Away 2:45 3-B6 My Blue Heaven 1:36 3-B7 I Was Doing All Right 2:17 3-B8 I Can't Get Started 2:41 3-B9 Old Man Moon 2:16 3-B10 Carry Me Back To Old Virginny 2:14 4-A1 Moon Song 3:09 4-A2 Baby, Won't You Please Come Home 2:20 4-A3 Rosetta 2:11 4-A4 Trompin' 2:46 4-A5 You're My Life 2:54 4-A6 Hoy Soy 2:33 4-A7 Take 'Em 2:24 4-A8 Scategoria 2:32 4-A9 Rhythm Serenade 2:35 4-A10 Rib Town Shuffle 2:46 4-B1 Music'll Chase Your Blues Away 2:01 4-B2 I'll Gather Up My Memories 3:34 4-B3 A Fool's Affair 3:34 4-B4 Jump, Jack, Jump 2:47 4-B5 I Knew A Time 3:05 4-B6 Mine You'll Always Be 3:19 4-B7 Doin' The Bow Wow 2:44 4-B8 Lilla Mae 2:18 5-A1 I Like To Riff 2:49 5-A2 On The Sunny Side Of The Street 2:55 5-A3 Black Spider Stomp 2:40 5-A4 By The River St. Marie 2:25 5-A5 Slew Foot Joe 2:14 5-A6 1-2-3-4 2:09 5-A7 Crazy 'Bout Rhythm 2:04 5-A8 Off The Beam 2:18 5-A9 King Cole Blues 2:07 5-A10 Jivin' With The Notes 2:01 5-A11 Never Mind, Baby 1:45 5-B1 I'm A Perfect Fool Over You 2:38 5-B2 Lovely Little Person 2:23 5-B3 Love Me Sooner 2:32 5-B4 Sentimental Blue 2:44 5-B5 Goin' To Town With Honey 2:21 5-B6 Syncopated Lullaby 1:51 5-B7 Falling In And Out Of Love 1:50 5-B8 Let's Do Things 2:01 5-B9 Jumpy Jitters 1:51 5-B10 Nothing Ever Happens 2:35 5-B11 What'cha Doin' To My Heart 1:37 6-A1 Bedtime 2:45 6-A2 Honey Hush 2:18 6-A3 French Toast 2:15 6-A4 Vine Street Jump 2:43 6-A5 B Flat 2:32 6-A6 You Send Me 2:11 6-A7 Love Is My Alibi 3:13 6-A8 Pogo Stick Bounce 2:19 6-A9 Whatcha' Know, Joe? 2:36 6-A10 Sweet Lorraine 2:57 6-B1 Honeysuckle Rose 2:34 6-B2 Gone With The Draft 2:44 6-B3 This Side Up 2:49 6-B4 Jumpin' With The Mop 2:26 6-B5 Jam Man 2:05 6-B6 Let's Try Again 3:05 6-B7 Fudge Wudge 3:51 6-B8 Smokey Joe 1:58 6-B9 Windy City Boogie Woogie 2:26 6-B10 Ode To A Wild Clam 2:26 7-A1 Let's Try Again 3:10 7-A2 Whatcha' Know, Joe? 2:12 7-A3 Lazy River 1:46 7-A4 Georgia On My Mind 2:45 7-A5 Rockin' Chair 3:13 7-A6 A Little Jive Is Good For You 3:41 7-A7 You've Changed 3:05 7-B1 Babs 2:27 7-B2 Scotchin' With The Soda 2:35 7-B3 Slow Down 3:09 7-B4 Early Morning Blues 2:46 7-B5 The Romany Room Is Jumpin' 2:30 7-B6 This Will Make You Laugh 3:14 7-B7 Stop! The Red Light's On 2:39 7-B8 Hit The Ramp 3:21 7-B9 I Like To Riff 2:48 8-A1 Call The Police 3:05 8-A2 Are You Fer It? 3:08 8-A3 That Ain't Right 3:14 8-A4 Hit That Jive, Jack 2:59 8-A5 Indiana 4:53 8-A6 I Can't Get Started 4:55 8-B1 Tea For Two 4:47 8-B2 Body And Soul 5:13 8-B3 Vom, Vim, Veedle 3:02 8-B4 All For You 3:28 8-B5 Hip Hop Hurray 2:24 8-B6 I Know That You Know 2:10 8-B7 I'm Gonna Move To The Outskirts Of Town 3:44 9-A1 Pitchin' Up A Boogie 3:14 9-A2 I'm Lost 3:19 9-A3 Beautiful Moons Ago 2:27 9-A4 Let's Spring One 2:43 9-A5 Slender, Tender, And Tall 2:06 9-A6 I've Found A New Baby 4:44 9-A7 Rosetta 5:10 9-B1 Sweet Lorraine 4:56 9-B2 I Blowed And Gone 4:47 9-B3 Solid Potato Salad 2:07 9-B4 F.S.T. (Fine, Sweet & Tasty) 3:07 9-B5 Got A Penny 2:37 9-B6 Let's Pretend 3:18 9-B7 My Lips Remember Your Kisses 3:11 9-B8 I'm An Errand Boy For Rhythm 1:51 9-B9 Straighten Up And Fly Right 2:45 10-A1 Honey Hush 2:47 10-A2 By The River St. Marie 2:12 10-A3 I Like To Riff 2:33 10-A4 Black Spider Stomp 2:54 10-A5 Sweet Lorraine 3:23 10-A6 Early Morning Blues 2:53 10-A7 Gone With The Draft 2:22 10-A8 Trompin' 1:48 10-A9 Sweet Lorraine 2:57 10-A10 Gone With The Draft 2:41 10-B1 Scotchin' With The Soda 2:25 10-B2 Gone With The Draft 2:28 10-B3 The Romany Room Is Jumpin' 2:33 10-B4 Hit That Jive, Jack 2:16 10-B5 Beautiful Moons Ago 3:36 10-B6 Honeysuckle Rose 3:20 10-B7 I Know That You Know 2:53 10-B8 Solid Potato Salad 2:14 10-B9 My Lips Remember Your Kisses 3:07 10-B10 Straighten Up And Fly Right 2:52 Album Info

Artist: Nat King Cole  

 

Album Title:  Hittin' The Ramp The Early Years (1936-1943)

 

Catalog Number: HLP 9042

 

Record Company: Resonance Records

 

Year released: 2019

 

 

 

 

Box/Jacket Condition: (NM/M)  Minor wear to outer box housing. All jackets are in new condition. No flaws.  

 

LP Condition: (M) Never played

 

 

 

 

 

Of interest:  Resonance Records, the Los Angeles-based independent jazz label noted for its historical releases, will issue its most ambitious release to date, the 10-LP Nat King Cole boxed set Hittin’ the Ramp: The Early Years (1936-1943) on November 1, 2019.

 

Succeeding critically acclaimed Resonance archival collections devoted to previously unheard recordings by Bill Evans, Wes Montgomery, Sarah Vaughan, and other eminent jazz performers, Hittin’ the Ramp offers the first in-depth survey of singer-pianist Cole’s work in the years preceding his long hit-making tenure at Capitol Records.

 

“This is a really important project for Resonance,” says Zev Feldman, label co-president and the set’s co-producer. “We’ve done some pretty substantial packages over the years, such as our three-disc Eric Dolphy and Jaco Pastorius sets with 100-page booklets, but this Nat King Cole box is truly a definitive, king-sized set, clocking in at a staggering 10 LPs  worth of essential early Cole material with enhanced audio.” 

 

The expansive collection — which includes several previously unreleased studio sides, transcriptions, and private recordings — is the first major overview of Cole’s earliest work to be produced in conjunction with the musician’s estate.

 

“The Nat King Cole Estate is thrilled to be partnering with Resonance Records on this exciting collection of early recordings that showcase Nat’s extraordinary abilities as a jazz musician,” says Seth Berg of the Nat King Cole Estate. “The family is especially grateful for Resonance’s unwavering determination to preserve and present these pioneering recordings to the world.”

 

The set’s co-producer, writer and historian Will Friedwald – who received Grammy Award nominations for his work on Mosaic Records’ landmark 1992 box The Complete Capitol Recordings of the Nat King Cole Trio and the 1989 album Nat “King” Cole and the “King” Cole Trio – points out in his comprehensive notes to the collection that Cole’s deep and influential jazz roots were often obscured by his towering reputation as a pop singer.

“At the height of his fame in the 1950s and ‘60s,” he writes, “Nat King Cole (1919-1965) was primarily known as a popular singer — the biggest-selling artist of his generation, no less — who occasionally played piano. By that point, only a few older fans and critics remembered that he had been one of the greatest pianists in the whole history of American music, a true spiritual descendent of Earl ‘Fatha’ Hines and Art Tatum, and himself a huge inspiration for Oscar Peterson, George Shearing, Erroll Garner, and many others.”

 

Beyond Cole’s brilliance at the keyboard, the Resonance set takes in his dazzling work as a vocalist, and includes a new interview with the master pop singer Johnny Mathis, who discusses his debt to and friendship with his great predecessor.

“As a young boy, studying the art of vocalizing, Nat was everything I needed,” Mathis says. “All I did was listen and learn…And then I want [people] to remember that he also, also, also played the piano. Please, please, please remember that. Even as gigantic as a pianist as he was as a vocalist.”

 

Co-produced by Zev Feldman, Will Friedwald, Seth Berg, Matt Lutthans, and Jordan Taylor, and executive produced by Resonance co-president George Klabin, Hittin’ the Ramp homes in on Cole’s prodigious early career, beginning with the debut sides he recorded with his brother Eddie for Decca Records as a 17-year-old piano phenom in 1936.

The majority of the set’s nearly 200 tracks focus on the first work by the King Cole Trio, the seminal combo that put Cole on the map with a swinging combination of jazz, jive, and pop, with an emphasis on his simpatico creative partnership with the trio’s longtime guitarist Oscar Moore.

 

In his notes for the collection, guitarist Nick Rossi notes that Moore’s synthesis of such influences as George van Eps, Dick McDonough, Django Reinhardt, and Charlie Christian led to his “groundbreaking style, one which provided a template for how the guitar functions in a modern jazz setting.”

 

Hittin’ the Ramp compiles Cole’s recordings – among them the first versions of “Sweet Lorraine,” a staple of his ‘40s repertoire, and the R&B and pop hit “Straighten Up and Fly Right” – with his trio and in other studio settings (as sideman and accompanist) for Decca, Ammor, Excelsior, Premier, Mercury, and Philo (including a celebrated session for the latter label, founded by Norman Granz during the 1942 Musicians Union recording ban, with saxophonist Lester Young).

 

It also contains dozens of transcriptions, mainly by the trio, cut by Standard, Davis & Schwegler, and MacGregor for servicing to radio stations, as well as wartime recordings produced for American servicemen by the Armed Forces Radio Service.

 

The newly discovered selections include several performances that were not known to exist before research for the boxed set began. These include a privately recorded number, “The Romany Room is Jumping,” a homage to the titular Washington, D.C., club that hosted Cole’s group; the hitherto unheard Cinematone transcription “Trompin’”; and an unreleased 1940 trio rendering of Trummy Young’s “Whatcha’ Know Joe.”

“Although nothing on this package can be described as ‘common,’ these are some of the rarest Cole items known to exist,” Friedwald writes.

He adds, “Just in time for his centennial, we cover this quintessential American artist from his very first stirrings at the start of the swing era to the very precipice of universal fame during World War Two, with dozens of fascinating detours along the way. This, then, is the incredible but true origin story of a sound and a career that would change the world.”

 

 

 

Tracklist: 

1-A1 Honey Hush 2:52

1-A2 Stompin' At The Panama (Skoller's Shuffle) 2:59

1-A3 Bedtime (Sleepy Moan) 2:54

1-A4 Thunder 2:50

1-A5 Mutiny In The Nursery 2:52

1-A6 F.D.R. Jones 3:10

1-A7 The Sheik Of Araby 2:17

1-A8 The Blue Danube 2:50

1-A9 Button, Button 2:52

 

1-B1 Jingle Bells 2:35

1-B2 Swanee River 2:28

1-B3 With Plenty Of Money And You 2:15

1-B4 Don't Blame Me 2:26

1-B5 Lullaby In Rhythm 2:48

1-B6 Dark Rapture 3:13

1-B7 The Wiggly Walk 2:52

1-B8 Flea Hop 2:43

1-B9 Chopsticks 2:44

1-B10 Patty Cake, Patty Cake 2:43

 

2-A1 Blue Skies 2:09

2-A2 Liza 2:58

2-A3 Three Blind Mice 2:08

2-A4 Caravan 2:17

2-A5 There's No Anesthetic For Love 3:15

2-A6 Dixie Jamboree 3:04

2-A7 Ta-De-Ah 2:39

2-A8 Riffin' At The Bar-B-Q 2:05

2-A9 Harlem Swing 2:30

2-A10 I Lost Control Of Myself 3:16

2-B1 The Land Of Make Believe 2:52

2-B2 That Please-Be-Mineable Feeling 2:15

2-B3 Dancing In The Street 3:09

2-B4 You're So Different 3:02

2-B5 I Wouldn't Have Known It 2:33

2-B6 Let's Get Happy 2:18

2-B7 Undecided 2:26

2-B8 'Taint What You Do 2:53

2-B9 Do You Wanna Jump, Children 2:46

2-B10 Riffin' In F Minor 2:06

 

3-A1 Ol' Man Mose Ain't Dead 3:30

3-A2 Blue Lou 3:01

3-A3 Honey 2:11

3-A4 Russian Lullaby 2:07

3-A5 Georgie Porgie 2:23

3-A6 The Limp 2:52

3-A7 Snug As A Bug In A Rug 2:35

3-A8 Liebstraum 3:23

3-A9 Fidgety Joe 2:57

3-B1 Two Against One 3:00

3-B2 Some Like It Hot 3:09

3-B3 Crazy Rhythm 2:00

3-B4 Moonglow 2:57

3-B5 Don't Let That Moon Get Away 2:45

3-B6 My Blue Heaven 1:36

3-B7 I Was Doing All Right 2:17

3-B8 I Can't Get Started 2:41

3-B9 Old Man Moon 2:16

3-B10 Carry Me Back To Old Virginny 2:14

 

4-A1 Moon Song 3:09

4-A2 Baby, Won't You Please Come Home 2:20

4-A3 Rosetta 2:11

4-A4 Trompin' 2:46

4-A5 You're My Life 2:54

4-A6 Hoy Soy 2:33

4-A7 Take 'Em 2:24

4-A8 Scategoria 2:32

4-A9 Rhythm Serenade 2:35

4-A10 Rib Town Shuffle 2:46

4-B1 Music'll Chase Your Blues Away 2:01

4-B2 I'll Gather Up My Memories 3:34

4-B3 A Fool's Affair 3:34

4-B4 Jump, Jack, Jump 2:47

4-B5 I Knew A Time 3:05

4-B6 Mine You'll Always Be 3:19

4-B7 Doin' The Bow Wow 2:44

4-B8 Lilla Mae 2:18

 

5-A1 I Like To Riff 2:49

5-A2 On The Sunny Side Of The Street 2:55

5-A3 Black Spider Stomp 2:40

5-A4 By The River St. Marie 2:25

5-A5 Slew Foot Joe 2:14

5-A6 1-2-3-4 2:09

5-A7 Crazy 'Bout Rhythm 2:04

5-A8 Off The Beam 2:18

5-A9 King Cole Blues 2:07

5-A10 Jivin' With The Notes 2:01

5-A11 Never Mind, Baby 1:45

5-B1 I'm A Perfect Fool Over You 2:38

5-B2 Lovely Little Person 2:23

5-B3 Love Me Sooner 2:32

5-B4 Sentimental Blue 2:44

5-B5 Goin' To Town With Honey 2:21

5-B6 Syncopated Lullaby 1:51

5-B7 Falling In And Out Of Love 1:50

5-B8 Let's Do Things 2:01

5-B9 Jumpy Jitters 1:51

5-B10 Nothing Ever Happens 2:35

5-B11 What'cha Doin' To My Heart 1:37

 

6-A1 Bedtime 2:45

6-A2 Honey Hush 2:18

6-A3 French Toast 2:15

6-A4 Vine Street Jump 2:43

6-A5 B Flat 2:32

6-A6 You Send Me 2:11

6-A7 Love Is My Alibi 3:13

6-A8 Pogo Stick Bounce 2:19

6-A9 Whatcha' Know, Joe? 2:36

6-A10 Sweet Lorraine 2:57

6-B1 Honeysuckle Rose 2:34

6-B2 Gone With The Draft 2:44

6-B3 This Side Up 2:49

6-B4 Jumpin' With The Mop 2:26

6-B5 Jam Man 2:05

6-B6 Let's Try Again 3:05

6-B7 Fudge Wudge 3:51

6-B8 Smokey Joe 1:58

6-B9 Windy City Boogie Woogie 2:26

6-B10 Ode To A Wild Clam 2:26

 

7-A1 Let's Try Again 3:10

7-A2 Whatcha' Know, Joe? 2:12

7-A3 Lazy River 1:46

7-A4 Georgia On My Mind 2:45

7-A5 Rockin' Chair 3:13

7-A6 A Little Jive Is Good For You 3:41

7-A7 You've Changed 3:05

7-B1 Babs 2:27

7-B2 Scotchin' With The Soda 2:35

7-B3 Slow Down 3:09

7-B4 Early Morning Blues 2:46

7-B5 The Romany Room Is Jumpin' 2:30

7-B6 This Will Make You Laugh 3:14

7-B7 Stop! The Red Light's On 2:39

7-B8 Hit The Ramp 3:21

7-B9 I Like To Riff 2:48

 

8-A1 Call The Police 3:05

8-A2 Are You Fer It? 3:08

8-A3 That Ain't Right 3:14

8-A4 Hit That Jive, Jack 2:59

8-A5 Indiana 4:53

8-A6 I Can't Get Started 4:55

8-B1 Tea For Two 4:47

8-B2 Body And Soul 5:13

8-B3 Vom, Vim, Veedle 3:02

8-B4 All For You 3:28

8-B5 Hip Hop Hurray 2:24

8-B6 I Know That You Know 2:10

8-B7 I'm Gonna Move To The Outskirts Of Town 3:44

 

9-A1 Pitchin' Up A Boogie 3:14

9-A2 I'm Lost 3:19

9-A3 Beautiful Moons Ago 2:27

9-A4 Let's Spring One 2:43

9-A5 Slender, Tender, And Tall 2:06

9-A6 I've Found A New Baby 4:44

9-A7 Rosetta 5:10

9-B1 Sweet Lorraine 4:56

9-B2 I Blowed And Gone 4:47

9-B3 Solid Potato Salad 2:07

9-B4 F.S.T. (Fine, Sweet & Tasty) 3:07

9-B5 Got A Penny 2:37

9-B6 Let's Pretend 3:18

9-B7 My Lips Remember Your Kisses 3:11

9-B8 I'm An Errand Boy For Rhythm 1:51

9-B9 Straighten Up And Fly Right 2:45

 

10-A1 Honey Hush 2:47

10-A2 By The River St. Marie 2:12

10-A3 I Like To Riff 2:33

10-A4 Black Spider Stomp 2:54

10-A5 Sweet Lorraine 3:23

10-A6 Early Morning Blues 2:53

10-A7 Gone With The Draft 2:22

10-A8 Trompin' 1:48

10-A9 Sweet Lorraine 2:57

10-A10 Gone With The Draft 2:41

10-B1 Scotchin' With The Soda 2:25

10-B2 Gone With The Draft 2:28

10-B3 The Romany Room Is Jumpin' 2:33

10-B4 Hit That Jive, Jack 2:16

10-B5 Beautiful Moons Ago 3:36

10-B6 Honeysuckle Rose 3:20

10-B7 I Know That You Know 2:53

10-B8 Solid Potato Salad 2:14

10-B9 My Lips Remember Your Kisses 3:07

10-B10 Straighten Up And Fly Right 2:52

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 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  storage wear only. It may have some torn shrink-wrap. There may also be some discolor or ring wear to the actual shrink-wrap (not jacket itself) from age.  If not sealed the cover will show no more than very minor storage wear.  

(LP) You should not hear any surface noise (snaps, crackles, pops) when you play the record. There will not be any skips/repeats. The LP visually will retain that just opened appearance. There may be some light sleeve abrasions but they will not have any affect on the sound. 

Near Mint Minus (NM-) 

(Jacket) May or may not have shrink-wrap, but the jacket itself will still be in great condition. It may have minimal corner wear.  There may be minor scuffs and/or creases. Depending on age, some discolor/yellowing may show, but will be minor.  If ring wear is present,  it will be minimal ( at the top and bottom pressure points) .no full, half, or quarter rings.  

(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 or two of pops or minor crackling, but nothing prolonged, and instances of this will be few (usually at beginning or end of groove). There will not be any significant warping that would affect sound in any way. 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. 

Excellent (EX)

(Jacket) Similar to NM- but a few more minor flaws.  Usually too good to list it at VG+ but not quite up to snuff for NM-. For example there may be a bit more corner wear, A few more scuffs and creases. Possibly writing on cover (would be faded or minimally noticeable).  Ring wear may be slightly more noticebale than NM- but not enought to bring it down to a VG+ grade. Cover swould still have a nice luster to it.  

(LP) Again very similar to NM-. What would drop this down to an EX from NM- would be a bit more crackling or a few pops than the better grade. Might be some surface noise between tracks, or a more pronounced at the beginning and end of groove where the needle was put on/taken off vinyl.  Again, better than VG+, but not quite up to NM- status.  

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 a bit more noticeable discolor/yellowing on lighter parts of cover.  Maybe some seam splits (may or not be repaired). There may be some ring wear at the top and bottom, a bit more pronounced than NM- (quarter ring wear possibly)  but no full or half rings. There could be some writing, but it would be minimal. Possibly some light bubbling of the paper.  There would be nothing such as water/mold stains, stuck gate-fold, tearing or major defacing 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, pops or surface noise. There may be some lighter warping but it will have no affect on the listening experience at all (and it will be noted that it exists). Chances are there will be some 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) 

(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 destruction of main images. There could be some bubbling, posiible water stains, discolor etc...  Bottom line is the cover will not be destoryed, but will definitely have some issues.

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(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.  It may have full on seam splits to spine and other sides.  The jacket may be 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 quite worn. Rarely a jacket in this condition will  be listed in the first place. 

(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 may 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'. If it is in this condition it will only be listed if it is an playable condition, and imperfections will be noted.

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Salem Attic  2026

Artist: Nat King Cole  

 

Album Title:  Hittin' The Ramp The Early Years (1936-1943)

 

Catalog Number: HLP 9042

 

Record Company: Resonance Records

 

Year released: 2019

 

 

 

 

Box/Jacket Condition: (NM/M)  Minor wear to outer box housing. All jackets are in new condition. No flaws.  

 

LP Condition: (M) Never played

 

 

 

 

 

Of interest:  Resonance Records, the Los Angeles-based independent jazz label noted for its historical releases, will issue its most ambitious release to date, the 10-LP Nat King Cole boxed set Hittin’ the Ramp: The Early Years (1936-1943) on November 1, 2019.

 

Succeeding critically acclaimed Resonance archival collections devoted to previously unheard recordings by Bill Evans, Wes Montgomery, Sarah Vaughan, and other eminent jazz performers, Hittin’ the Ramp offers the first in-depth survey of singer-pianist Cole’s work in the years preceding his long hit-making tenure at Capitol Records.

 

“This is a really important project for Resonance,” says Zev Feldman, label co-president and the set’s co-producer. “We’ve done some pretty substantial packages over the years, such as our three-disc Eric Dolphy and Jaco Pastorius sets with 100-page booklets, but this Nat King Cole box is truly a definitive, king-sized set, clocking in at a staggering 10 LPs  worth of essential early Cole material with enhanced audio.” 

 

The expansive collection — which includes several previously unreleased studio sides, transcriptions, and private recordings — is the first major overview of Cole’s earliest work to be produced in conjunction with the musician’s estate.

 

“The Nat King Cole Estate is thrilled to be partnering with Resonance Records on this exciting collection of early recordings that showcase Nat’s extraordinary abilities as a jazz musician,” says Seth Berg of the Nat King Cole Estate. “The family is especially grateful for Resonance’s unwavering determination to preserve and present these pioneering recordings to the world.”

 

The set’s co-producer, writer and historian Will Friedwald – who received Grammy Award nominations for his work on Mosaic Records’ landmark 1992 box The Complete Capitol Recordings of the Nat King Cole Trio and the 1989 album Nat “King” Cole and the “King” Cole Trio – points out in his comprehensive notes to the collection that Cole’s deep and influential jazz roots were often obscured by his towering reputation as a pop singer.

“At the height of his fame in the 1950s and ‘60s,” he writes, “Nat King Cole (1919-1965) was primarily known as a popular singer — the biggest-selling artist of his generation, no less — who occasionally played piano. By that point, only a few older fans and critics remembered that he had been one of the greatest pianists in the whole history of American music, a true spiritual descendent of Earl ‘Fatha’ Hines and Art Tatum, and himself a huge inspiration for Oscar Peterson, George Shearing, Erroll Garner, and many others.”

 

Beyond Cole’s brilliance at the keyboard, the Resonance set takes in his dazzling work as a vocalist, and includes a new interview with the master pop singer Johnny Mathis, who discusses his debt to and friendship with his great predecessor.

“As a young boy, studying the art of vocalizing, Nat was everything I needed,” Mathis says. “All I did was listen and learn…And then I want [people] to remember that he also, also, also played the piano. Please, please, please remember that. Even as gigantic as a pianist as he was as a vocalist.”

 

Co-produced by Zev Feldman, Will Friedwald, Seth Berg, Matt Lutthans, and Jordan Taylor, and executive produced by Resonance co-president George Klabin, Hittin’ the Ramp homes in on Cole’s prodigious early career, beginning with the debut sides he recorded with his brother Eddie for Decca Records as a 17-year-old piano phenom in 1936.

The majority of the set’s nearly 200 tracks focus on the first work by the King Cole Trio, the seminal combo that put Cole on the map with a swinging combination of jazz, jive, and pop, with an emphasis on his simpatico creative partnership with the trio’s longtime guitarist Oscar Moore.

 

In his notes for the collection, guitarist Nick Rossi notes that Moore’s synthesis of such influences as George van Eps, Dick McDonough, Django Reinhardt, and Charlie Christian led to his “groundbreaking style, one which provided a template for how the guitar functions in a modern jazz setting.”

 

Hittin’ the Ramp compiles Cole’s recordings – among them the first versions of “Sweet Lorraine,” a staple of his ‘40s repertoire, and the R&B and pop hit “Straighten Up and Fly Right” – with his trio and in other studio settings (as sideman and accompanist) for Decca, Ammor, Excelsior, Premier, Mercury, and Philo (including a celebrated session for the latter label, founded by Norman Granz during the 1942 Musicians Union recording ban, with saxophonist Lester Young).

 

It also contains dozens of transcriptions, mainly by the trio, cut by Standard, Davis & Schwegler, and MacGregor for servicing to radio stations, as well as wartime recordings produced for American servicemen by the Armed Forces Radio Service.

 

The newly discovered selections include several performances that were not known to exist before research for the boxed set began. These include a privately recorded number, “The Romany Room is Jumping,” a homage to the titular Washington, D.C., club that hosted Cole’s group; the hitherto unheard Cinematone transcription “Trompin’”; and an unreleased 1940 trio rendering of Trummy Young’s “Whatcha’ Know Joe.”

“Although nothing on this package can be described as ‘common,’ these are some of the rarest Cole items known to exist,” Friedwald writes.

He adds, “Just in time for his centennial, we cover this quintessential American artist from his very first stirrings at the start of the swing era to the very precipice of universal fame during World War Two, with dozens of fascinating detours along the way. This, then, is the incredible but true origin story of a sound and a career that would change the world.”

 

 

 

Tracklist: 

1-A1 Honey Hush 2:52

1-A2 Stompin' At The Panama (Skoller's Shuffle) 2:59

1-A3 Bedtime (Sleepy Moan) 2:54

1-A4 Thunder 2:50

1-A5 Mutiny In The Nursery 2:52

1-A6 F.D.R. Jones 3:10

1-A7 The Sheik Of Araby 2:17

1-A8 The Blue Danube 2:50

1-A9 Button, Button 2:52

 

1-B1 Jingle Bells 2:35

1-B2 Swanee River 2:28

1-B3 With Plenty Of Money And You 2:15

1-B4 Don't Blame Me 2:26

1-B5 Lullaby In Rhythm 2:48

1-B6 Dark Rapture 3:13

1-B7 The Wiggly Walk 2:52

1-B8 Flea Hop 2:43

1-B9 Chopsticks 2:44

1-B10 Patty Cake, Patty Cake 2:43

 

2-A1 Blue Skies 2:09

2-A2 Liza 2:58

2-A3 Three Blind Mice 2:08

2-A4 Caravan 2:17

2-A5 There's No Anesthetic For Love 3:15

2-A6 Dixie Jamboree 3:04

2-A7 Ta-De-Ah 2:39

2-A8 Riffin' At The Bar-B-Q 2:05

2-A9 Harlem Swing 2:30

2-A10 I Lost Control Of Myself 3:16

2-B1 The Land Of Make Believe 2:52

2-B2 That Please-Be-Mineable Feeling 2:15

2-B3 Dancing In The Street 3:09

2-B4 You're So Different 3:02

2-B5 I Wouldn't Have Known It 2:33

2-B6 Let's Get Happy 2:18

2-B7 Undecided 2:26

2-B8 'Taint What You Do 2:53

2-B9 Do You Wanna Jump, Children 2:46

2-B10 Riffin' In F Minor 2:06

 

3-A1 Ol' Man Mose Ain't Dead 3:30

3-A2 Blue Lou 3:01

3-A3 Honey 2:11

3-A4 Russian Lullaby 2:07

3-A5 Georgie Porgie 2:23

3-A6 The Limp 2:52

3-A7 Snug As A Bug In A Rug 2:35

3-A8 Liebstraum 3:23

3-A9 Fidgety Joe 2:57

3-B1 Two Against One 3:00

3-B2 Some Like It Hot 3:09

3-B3 Crazy Rhythm 2:00

3-B4 Moonglow 2:57

3-B5 Don't Let That Moon Get Away 2:45

3-B6 My Blue Heaven 1:36

3-B7 I Was Doing All Right 2:17

3-B8 I Can't Get Started 2:41

3-B9 Old Man Moon 2:16

3-B10 Carry Me Back To Old Virginny 2:14

 

4-A1 Moon Song 3:09

4-A2 Baby, Won't You Please Come Home 2:20

4-A3 Rosetta 2:11

4-A4 Trompin' 2:46

4-A5 You're My Life 2:54

4-A6 Hoy Soy 2:33

4-A7 Take 'Em 2:24

4-A8 Scategoria 2:32

4-A9 Rhythm Serenade 2:35

4-A10 Rib Town Shuffle 2:46

4-B1 Music'll Chase Your Blues Away 2:01

4-B2 I'll Gather Up My Memories 3:34

4-B3 A Fool's Affair 3:34

4-B4 Jump, Jack, Jump 2:47

4-B5 I Knew A Time 3:05

4-B6 Mine You'll Always Be 3:19

4-B7 Doin' The Bow Wow 2:44

4-B8 Lilla Mae 2:18

 

5-A1 I Like To Riff 2:49

5-A2 On The Sunny Side Of The Street 2:55

5-A3 Black Spider Stomp 2:40

5-A4 By The River St. Marie 2:25

5-A5 Slew Foot Joe 2:14

5-A6 1-2-3-4 2:09

5-A7 Crazy 'Bout Rhythm 2:04

5-A8 Off The Beam 2:18

5-A9 King Cole Blues 2:07

5-A10 Jivin' With The Notes 2:01

5-A11 Never Mind, Baby 1:45

5-B1 I'm A Perfect Fool Over You 2:38

5-B2 Lovely Little Person 2:23

5-B3 Love Me Sooner 2:32

5-B4 Sentimental Blue 2:44

5-B5 Goin' To Town With Honey 2:21

5-B6 Syncopated Lullaby 1:51

5-B7 Falling In And Out Of Love 1:50

5-B8 Let's Do Things 2:01

5-B9 Jumpy Jitters 1:51

5-B10 Nothing Ever Happens 2:35

5-B11 What'cha Doin' To My Heart 1:37

 

6-A1 Bedtime 2:45

6-A2 Honey Hush 2:18

6-A3 French Toast 2:15

6-A4 Vine Street Jump 2:43

6-A5 B Flat 2:32

6-A6 You Send Me 2:11

6-A7 Love Is My Alibi 3:13

6-A8 Pogo Stick Bounce 2:19

6-A9 Whatcha' Know, Joe? 2:36

6-A10 Sweet Lorraine 2:57

6-B1 Honeysuckle Rose 2:34

6-B2 Gone With The Draft 2:44

6-B3 This Side Up 2:49

6-B4 Jumpin' With The Mop 2:26

6-B5 Jam Man 2:05

6-B6 Let's Try Again 3:05

6-B7 Fudge Wudge 3:51

6-B8 Smokey Joe 1:58

6-B9 Windy City Boogie Woogie 2:26

6-B10 Ode To A Wild Clam 2:26

 

7-A1 Let's Try Again 3:10

7-A2 Whatcha' Know, Joe? 2:12

7-A3 Lazy River 1:46

7-A4 Georgia On My Mind 2:45

7-A5 Rockin' Chair 3:13

7-A6 A Little Jive Is Good For You 3:41

7-A7 You've Changed 3:05

7-B1 Babs 2:27

7-B2 Scotchin' With The Soda 2:35

7-B3 Slow Down 3:09

7-B4 Early Morning Blues 2:46

7-B5 The Romany Room Is Jumpin' 2:30

7-B6 This Will Make You Laugh 3:14

7-B7 Stop! The Red Light's On 2:39

7-B8 Hit The Ramp 3:21

7-B9 I Like To Riff 2:48

 

8-A1 Call The Police 3:05

8-A2 Are You Fer It? 3:08

8-A3 That Ain't Right 3:14

8-A4 Hit That Jive, Jack 2:59

8-A5 Indiana 4:53

8-A6 I Can't Get Started 4:55

8-B1 Tea For Two 4:47

8-B2 Body And Soul 5:13

8-B3 Vom, Vim, Veedle 3:02

8-B4 All For You 3:28

8-B5 Hip Hop Hurray 2:24

8-B6 I Know That You Know 2:10

8-B7 I'm Gonna Move To The Outskirts Of Town 3:44

 

9-A1 Pitchin' Up A Boogie 3:14

9-A2 I'm Lost 3:19

9-A3 Beautiful Moons Ago 2:27

9-A4 Let's Spring One 2:43

9-A5 Slender, Tender, And Tall 2:06

9-A6 I've Found A New Baby 4:44

9-A7 Rosetta 5:10

9-B1 Sweet Lorraine 4:56

9-B2 I Blowed And Gone 4:47

9-B3 Solid Potato Salad 2:07

9-B4 F.S.T. (Fine, Sweet & Tasty) 3:07

9-B5 Got A Penny 2:37

9-B6 Let's Pretend 3:18

9-B7 My Lips Remember Your Kisses 3:11

9-B8 I'm An Errand Boy For Rhythm 1:51

9-B9 Straighten Up And Fly Right 2:45

 

10-A1 Honey Hush 2:47

10-A2 By The River St. Marie 2:12

10-A3 I Like To Riff 2:33

10-A4 Black Spider Stomp 2:54

10-A5 Sweet Lorraine 3:23

10-A6 Early Morning Blues 2:53

10-A7 Gone With The Draft 2:22

10-A8 Trompin' 1:48

10-A9 Sweet Lorraine 2:57

10-A10 Gone With The Draft 2:41

10-B1 Scotchin' With The Soda 2:25

10-B2 Gone With The Draft 2:28

10-B3 The Romany Room Is Jumpin' 2:33

10-B4 Hit That Jive, Jack 2:16

10-B5 Beautiful Moons Ago 3:36

10-B6 Honeysuckle Rose 3:20

10-B7 I Know That You Know 2:53

10-B8 Solid Potato Salad 2:14

10-B9 My Lips Remember Your Kisses 3:07

10-B10 Straighten Up And Fly Right 2:52