Sold Date: May 4, 2014
Start Date: April 27, 2014
Final Price: $57.00 (USD)
Bid Count: 7
Seller Feedback: 1206
Buyer Feedback: 253

Original Prestige 7200 with RVG in dead wax and deep groove.   vinyl is vg++ with some surface scuffs.  plays near mint except for tiny mark which makes muffled pops not loud for 8 revolutions.  no surface noise between tracks. sounds spectacular.     cover is vg++ with a little corner damage upper two corners.  no edge wear or splits.  shipping is not 4 dollars.  wait for invoice please.  shipped with tracking.   thanks
Although chronologically the last to be issued, this collection includes some of the best performances from the tapes which would produce the albums , , , and ultimately, . A primary consideration of these fruitful sessions is the caliber of musicians --  (trumpet),  (piano),  (tenor sax), and (drums) -- who were basically doing their stage act in the studio. As actively performing musicians, the material they are most intimate with would be their live repertoire. Likewise, what more obvious place than a studio is there to capture every inescapable audible nuance of the combo's musical group mind. The end results are consistently astonishing. At the center of , as with most outings by this band, are the group improvisations which consist of solo upon solo of arguably the sweetest and otherwise most swinging interactions known to have existed between musicians. "Surrey With the Fringe on Top" is passed between the mates like an old joke.  compliments threads started by  and  as their seamless interaction yields a stream of strikingly lyrical passages. There are two well-placed nods to fellow bop pioneers  and  on a revision of their "Salt Peanuts." ' mimicking cymbal speak -- which replicates 's original vocals -- is nothing short of genius. This rendition is definitely as crazy and unpredictable here as the original.  also gets kudos on "Well, You Needn't." This quintet makes short work of the intricacies of the arrangement, adding the double horn lead on the choruses and ultimately redefining this jazz standard. Although there is no original material on , it may best represent the ability of the  quintet to take standards and rebuild them to suit their qualifications.