TINA BROOKS"Complete Blue Note Recordings-MOSAIC"4 LP

$

103

MOASIC MR4-106
Condition: Cover/ NM. LP/ NM-M (Visual Grade).

AMG Biography
by Thom Jurek

Tina Brooks had a short-lived career during the heyday of hard bop and didn't record for the last 12 years of his life. Nonetheless, his own records and his sessions with Freddie Hubbard, Jackie McLean, Freddie Redd, Jimmy Smith, and Kenny Burrell leave the impression that he was on his way to becoming a tenor giant when he was overcome by health problems due to drug addiction. Brooks did session work with both Amos Milburn and Lionel Hampton, but the key to his own artistry is on the Blue Note label. He led only four sessions as a leader for Blue Note from 1958 through 1961 — during his lifetime. The first two, Minor Move and True Blue, define the weighty edge in Brooks' playing and his plethora of improvisational ideas that extended the blues framework he operated out of beyond what most players were doing at the time. His reliance on minor-key signatures and open-ended harmonic figures were much-envied trademarks among his peers. Also on Blue Note is his work with McLean and Redd, both of whom played on his recordings. Perhaps Brooks' most seminal moment as an improviser, though, was on Redd's score for Jack Gelber's Beat play The Connection, performed by the Living Theater, where the musicians played themselves as characters and drug addicts, which was close to, if not spot on, the actual truth. Here he and McLean turned the hard bop blues into an aggressive, deeply emotional wail of truth and beauty winding around each other in short bursts and long lines as Redd turned the intervals inside out for the pair to blow. Brooks work on McLean's Street Singer and Jackie's Bag in 1959 and 1960 as well as Shades of Redd are stunning also.

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GOLDMINE GRADING

MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.

NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.

VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.

VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.

GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.

POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.