SAM RIVERS FUCHSIA SWING SONG-RARE BLUE NOTE 4184 NYUSA

$

168

SAM RIVERS FUCHSIA SWING SONG-RARE BLUE NOTE 4184 NYUSA

A VG+ ORIGINAL LP ON BLUE NOTE 4184

A RARE MONO PRESSING FROM 1964 WITH NY USA ADDRESS ON LABEL BOTH SIDES

RECORDED BY RUDY VAN GELDER WITH VAN GELDER IN THE DEAD WAX

WITH SAM RIVERS ON TENOR SAX, JAKI BYARD ON PIANO, RON CARTER ON BASS AND ANTHONY WILLIAMS ON DRUMS

6 TRACKS INCLUDE DOWNSTAIRS BLUES UPSTAIRS, CYCLIC EPISODE, LUMINOUS MONOLITH, BEATRICE, ELLIPSIS

WITH THE ORIGINAL BLUE NOTE THUMBNAIL INNER SLEEVE

COVER STOCK WITH RUB AND RING WEAR BOTH SIDES. SOME LIGHT OVERALL AGE DISCOLORATION. CORNERS AND EDGES WITH SOME ROUGH SPOTS AND SOME SMALL OUTER LAYER LOSSES.

SOME LIGHT SPINDLE RUB MARKS AROUND HOLE. VINYL BLANK WITH SOME LIGHT AND FINE SURFACE MARKS/RUBS/SURFACE PLAY LINES UNDER LIGHT AS WELL AS SOME EVIDENCE OF SURFACE PAPER SLEEVE STORAGE IMPRESSIONS FROM SHELVING. I'VE TEST PLAYED THIS LP ON THE VPI TURNTABLE AND IT A MOST WONDERFUL SOUNDING LP AFTER OVER 40 YEARS! PLAYED MINT MINUS, GRADED VG+ ONLY BECAUSE OF THE APPEARANCE ITEMS MENTIONED (PLUS THE COVER, WHILE I DON'T ASSIGN COVERS A GRADE, COULD OF COURSE BE MUCH BETTER).

VERY RARELY SEEN AND PERFECTLY MINT COPIES NOW FETCH 300 PLUS

FROM A PRIVATE JAZZ COLLECTION STORED BY THE ORIGINAL OWNER WHO WAS A NOTED JAZZ BAND ASSOCIATE

FROM THE ALLMUSIC.COM WEBSITE:
Review
by Thom Jurek
Recorded in 1964 immediately after leaving the Miles Davis Quintet, Sam Rivers' Fuchsia Swing Song is one of the more auspicious debuts the label released in the mid-'60s. Rivers was a seasoned session player (his excellent work on Larry Young's Into Somethin' is a case in point) and a former member of Herb Pomeroy's Big Band before he went out with Davis. By the time of his debut, Rivers had been deep under the influence of Coltrane and Coleman, but wasn't willing to give up the blues just yet. Hence the sound on Fuchsia Swing Song is one of an artist who is at once very self-assured, and in transition. Using a rhythm section that included Tony Williams (whose Life Time he had guested on), pianist Jaki Byard, and bassist Ron Carter, Rivers took the hard bop and blues of his roots and poured them through the avant-garde colander. Today, players like Joshua Redman, Branford Marsalis, and James Carter do it all the time, but in 1964 it was unheard of. You either played hard bop or free; Davis' entire modal thing hadn't even completely blasted off yet. The title and opening track is a case in point. Rivers opens with an angular figure that is quickly translated by the band into sweeping, bopping blues. Rivers legato is lightning quick and his phrasing touches upon Coleman Hawkins, Sonny Rollins, Coleman, and Coltrane, but his embouchure is all his. He strikes the balance and then takes off on both sides of the aisle. Byard's comping is actually far more than that, building in rhythmic figures in striated minors just behind the tenor. "Downstairs Blues Upstairs" sounds, initially anyway, like it might have come out of the Davis book so deep is its blue root. But courtesy of Byard and Williams, Rivers goes to the left after only four choruses, moving onto the ledge a bit at a time, running knotty arpeggios through the center of the melody and increasingly bending his notes into succeeding intervals while shifting keys and times signatures. He never goes completely over the edge as he would on his later Blue Note dates. The most difficult cut on the date is "Luminous Monolith," with its swing-like figure introducing the melody. Eight bars in, the syncopation of the rhythm sections begins a stutter stem around the time and then the harmony with Byard building dense chords for Rivers to jump off of. On the Connoisseur Series CD (shame on Blue Note once again for making some of its best outside records "limited editions"; titles like this should be as readily available as Horace Silver's Song for My Father, but the label had been playing it ever so safe for a while and making fans buy the limited number of titles over and again) there are alternate takes of "Luminous Monolith" and three more of "Downstairs Blues Upstairs," making it a very worthwhile look at the entire session. This is a highly recommended date. Rivers never played quite like this again.

AND, LASTLY, PLEASE DO REMEMBER SOUND QUALITY IS AFFECTED BY WHAT THE VINYL IS PLAYED ON!!!

PLEASE VISIT MY EBAY STORE FOR OTHER RARE AND COLLECTABLE VINYL

GRADING & POLICIES: ALL RECORDS ARE VISUALLY GRADED AND INDICATE STATE OV VINYL(COVER NOTED SEPARATELY); IF I'VE LISTENED TO THE LP IT WILL BE NOTED. The following is a general overview about grades, subject to any above notations: MINT indicates pristine vinyl without any marks on surface. MINT MINUS may contain a few very light surface marks from play or sleeve wear under light. If you are a real collector, you'll know that even a factory sealed LP occasionally has some light sleeve or rub marks. Anything in the VG category would contain more than two surface marks or have some other visible signs of ring or hole wear. Rarely do I offer something in the "G" state. If I do, it's usually a rare LP and priced accordingly. Values are assigned according to market availability and rarity, not a price guide.

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SHIPPING:QUESTION: WHY ARE SHIPPING CHARGES SO HIGH? ANSWER: BECAUSE ALL LPS ARE SHIPPED WITH A NEW PLASTIC OUTER SLEEVE SURROUNDED BY NEW CORRUGATED PACKING SQUARES(35 cents each) INSIDE A NEW CORRUGATED LP MAILER($1.10) WITH FRAGILE STICKERS OUTSIDE TO ENSURE THE LP ARRIVES JUST AS IT LEFT AND ARE SENT PRIORITY MAIL INSURED DOMESTIC OR MEDIA MAIL(INSURANCE OPTIONAL) AND FIRST CLASS INTERNATIONAL MAIL FOR FOREIGN. SO THAT'S A BUCK EIGHTY INVESTED IN YOUR PACKAGE BESIDES POSTAGE!

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 248 (GS 5.1.3 (248))