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WE CURRENTLY HAVE  MORE THAN 200  LISTED ITEMS

 

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·       DOUG WATKINS with YUSEF LATEEF AND OTHERS  – SOULNIK – ORIGINAL 1960 PRESTIGE/NEW JAZZ RECORDS MONO LP 8238

 

·       ORIGINAL U.S. PRESSING

 

·       ORIGINAL PURPLE NEW JAZZ LABEL WITH SILVER SCRIPT.

 

·       The record has a ► name or  his initials (RVG) clearly stamped or hand-etched in the trail-off vinyl (dead wax)

 

·       DEEP GROOVE PRESSING

 

·       AS WITH MOST ORIGINAL PRESTIGE / NEW JAZZ / BLUESVILLE PRESSINGS, THIS ALBUM, TOO, HAS PRINT ON THE SPINE SLIGHTLY ASYMETRICAL (OFF-CENTER)

 

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

 

·       THICK CARDBOARD COVER, AMERICAN STYLE.

 

·       ORIGINAL LAMINATED COVER

 

·       THICK, HEAVY VINYL PRESSING

 

·       CLEAN, WEAR-FREE LABELS

 

·       MONO version of this album has NEVER been available on legitimate Compact Disc or in any other digital format.

 

(►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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I was fortunate to hear Doug live in Paris (with Donald Byrd's group), and it was a pleasure merely to watch him form an integral, indivisible relationship with his instrument, and then to discern the quietly insistent support of his walking bass lines (there was rarely a thought given to amplification of the bass in those days, and the music, imo, was the better for it). Some of his best work is with Art Blakey and Horace Silver ("The Jazz Messengers" on Columbia is a desert island disc if there ever was one--with Silver's "Ecarole" making five instruments sound like a small big band). Watkins' bass is also highly visible on some albums made with Donald Byrd on the tiny Transition label, including one--"Watkins at Large"--under his own name. Whereas I've laid numerous bass-heavy albums to rest after several listenings, Watkins' work invites multiple playing because it's not about making an "impression": it's all about creating a deeply satisfying, soul-stirring, foot-tapping experience. When I think of Watkins, the picture that comes to mind is that of a musician who essentially "was" his instrument.

 

"Soulnik" is somewhat of a curiosity because it features Doug in the limelight--and on cello rather than bass. Just as his relative and fellow Detroiter Paul Chambers became renowned for his jazz arco solos, Watkins was beginning to attract some notice because of his jazz facility on the uncustomary instrument. Based on the evidence of this session, he was close, if not equal, to the great Oscar Pettiford, who had introduced the instrument to jazz. Had he lived, there's little doubt that he would have taken it in directions all his own (Harry Babasin, on the West Coast, was also showing how to cook on a cello).

 

With an unselfish musician like Yusef Lateef on hand, the chemistry can't help but be right. It may be a cello, but other than that difference, this is prime-time mainstream jazz that appeals equally to the head and heart and should be accessible to listeners of all ages and tastes. "Soulnik" may be from the same period, but this is one session that didn't go the way of the Beatniks. It sounds as fresh today as it did 50 years ago.

 

 (EXCERPT FROM AN ANONYMOUS ONLINE REVIEW)

 

Bassist Doug Watkins only led two recording sessions before his death in 1962, and this set has sometimes appeared under Yusef Lateef's name. Watkins doubles on cello (an instrument he had reportedly only begun playing three days earlier) during the set with Lateef (who triples on tenor, flute, and oboe), pianist Hugh Lawson, bassist Herman Wright, and drummer Lex Humphries. The quintet performs three standards, Watkins' "Andre's Bag," and a couple of Lateef tunes. The use of oboe and cello on some numbers makes the date stand out a bit from the usual hard bop sessions of the period and straight-ahead jazz fans will want to get this album.

 

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

 

For additional historical or discography information on this album, including track listing ►

 

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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  NEAR MINT. Some VERY LIGHT AND SUPERFICIAL abrasions – mostly sleeve scuffs -  are (barely) visible, but are probably inaudible,  and do not affect visual integrity or beauty of the vinyl. The original luster is very much intact, and the vinyl shines and sparkles almost like new.

 

(b)          The record has a ► name, or  his initials (RVG) stamped or hand-etched in the trail-off vinyl (dead wax). On SOME  Jazz labels (Blue Note, Savoy, Regent, Prestige, Impulse, Verve…) this stamp signifies highly professional masterings either done by - or  personally authorized by - the legendary engineer himself.

 

(c)           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!

 

(d)            The record comes in a poly-lined inner sleeve, which has - apparently with success - shielded the vinyl from the harmful impact of elements over many years!

 

(e)           Stereo copies of this album are NOT known to exist.

 

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

 

 

·       COVER (THIS IS THE ORIGINAL, LAMINATED, GLOSSY COVER):

 

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

 

The following flaws or imperfections are noted on the cover:

 

-         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  (VISIBLE ON BACK SIDE ONLY)

 

-         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 both sides, apparently from aging   (nothing significant).

 

-         Cover has a few tiny wrinkles along the spine

 

-         Back cover has a small tape residue (yellowish discoloration from the removed piece of old and aged scotch tape) (less than 1/2  square inch in size)

 

-         Cover has a partially split bottom seam (less than 1 inch / 2.5 centimeters)

 

-         Cover has two corners slightly worn / dinged  (nothing significant)

 

 

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE  COVER

 

 

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POSTAGE & SHIPPING:

 

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WE OFFER UNCONDITIONAL MONEY-BACK GUARANTEE WITHIN 30 DAYS FROM THE RECEIPT OF THE MERCHANDISE, NO QUESTIONS ASKED (THE BUYER PAYS FOR THE RETURN POSTAGE); Still sealed items MUST be returned sealed in order to be eligible for a refund Some restrictions apply. Please read our complete refund policy before placing a bid. ►  for the full text of our policy

 

 

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