SONNY SIMMONS STAYING ON WATCH RARE ORIG'66 ESP LP MINT

$

41

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·       SONNY SIMMONS – STAYING ON THE WATCH (SONNY SIMMONS' FIRST ALBUM) – ULTRA-RARE ORIGINAL 1966 E.S.P. RECORDS 1966 STEREO LP  ESPS-1030

·       ORIGINAL U.S. PRESSING

·       ORIGINAL SIMPLE, GENERIC WHITE ESP LABEL WITH BLACK PRINT

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)

·       CLEAN, WEAR-FREE LABELS

·       THICK, HEAVY VINYL PRESSING

(►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)

(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you'll get.  GUARANTEED!)

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Sonny Simmons, whose work with flutist Prince Lasha had put him on the map in West Coast avant-garde jazz circles, had an important year in 1966. That was the year the alto saxophonist recorded Staying on the Watch, his first album as a full-fledged leader; Lasha and Simmons had been co-leaders on 1962's The Cry!, but on this session, Simmons is the only one in the driver's seat. Not surprisingly, Simmons recorded Staying on the Watch for ESP-Disk, which reissued the album on CD in 2010. ESP's reputation for being cutting-edge is well deserved -- while Impulse! could be quite daring where experimental jazz was concerned, ESP was downright fearless -- and Simmons' playing is delightfully uninhibited and free-spirited on four original compositions: "Metamorphosis," "A Distance Voice," "City of David," and "Interplanetary Travelers." That isn't to say that Staying on the Watch is an exercise in atonal chaos; Simmons' performances aren't as extreme as the free jazz that John Coltrane was offering in 1966. This is inside/outside playing (more outside than inside) rather than absolute atonality from start to finish. But even so, there is a lot of intensity coming from Simmons and the four musicians who form an acoustic quintet with him: trumpeter Barbara Donald (Simmons' wife at the time), pianist John Hicks, bassist Teddy Smith, and percussionist Marvin Pattillo. Density prevails on Staying on the Watch, and density is the thing that can make one avant-garde jazz recording a lot more jarring than another. If one compares Staying on the Watch to AACM icon and fellow altoist Roscoe Mitchell's Sound -- another historic avant-garde album that was recorded in 1966 -- it isn't hard to see why this 44-minute CD is more intense. For all its abstraction, the innovative and highly influential Sound emphasized the use of space and was a departure from the density that had characterized so much avant-garde jazz in the early to mid-‘60s. Simmons and Mitchell were alto explorers who had two different left-of-center visions in 1966, one just as valid as the other -- and Simmons' recording career as a leader was off to an exciting start with Staying on the Watch.

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

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THIS IS A NO-RESERVE AUCTION!

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·                               CONDITION:

·                               RECORD

 (IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we  grade records under the strong, diffuse room light or discrete sunlight)

(a)          WE GRADE THE VINYL AS EXCELLENT. This is one of those albums that are somewhat difficult to grade. It is somewhere between VG++ and NEAR MINT, just a notch below NEAR MINT. A few light abrasions ARE visible, but they are extremely shallow, superficial  and only moderately visually distracting (nothing significant).For the most part, the vinyl looks impeccable without any MAJOR visual flaws or imperfections. Much of the original luster is intact, and the vinyl shines and sparkles almost like new.

(b)          The record is pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!

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

·       COVER

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

The following flaws or imperfections are noted on the cover:

-        Cover has a cutout hole in one of the corners

-        Cover has some writing on its back side in thin red marker (nothing significant)

-         Cover has a small stamp with a name and/or address of the previous owner on the back panel

-         Cover has some light ring wear (nothing significant); On the scale from 1 to 10 (1 being the least, and  10 being the most severe), we assess the severity of ring wear as 3  (front side) and 4 (back side)

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

-         Cover shows some light yellowing on back side, apparently from aging.

-         Minor shelf wear noted on the bottom seam (nothing significant)

NO OTHER IMPERFECTIONS ON THE COVER:

-        No split seams

-        No cut-out corners

-        No saw-marks or indents

-        No wrinkles or creases

-        No tearing: no chips, dents or nicks on the seams

-        No peel-off marks

-        No stains

-        No mold or mildew spots

-        No stickers or labels

-        No water damage

-        No razor marks, scratches, pressure marks, lines, streaks, or  cuts.

-        No warping

-        No wax, glue, paint or liquid drops on the cover

-        No glue traces or wax residue.

-        No bar codes

-        No RIAA stamps or stickers. 

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POSTAGE & SHIPPING:

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