BIG JOE TURNER BOSS OF BLUES RARE ORIG'56 ATLANTIC BLACK LABEL MONO LP DG N/MINT

$

25

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·      BIG JOE TURNER with PETE JOHNSON, FRANK WESS, SELDON POWELL AND OTHERS - BOSS OF THE BLUES : BIG JOE TURNER SINGS KANSAS CITY JAZZ – ORIGINAL 1957 ATLANTIC RECORDS MONO LP 1234

·      ORIGINAL U.S. PRESSING

·      ORIGINAL  BLACK ATLANTIC MONO  LABEL WITH SILVER PRINT.

·      DEEP GROOVE PRESSING

·      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)

·      ORIGINAL LAMINATED COVER

·      CLEAN, WEAR-FREE LABELS

·      THICK, HEAVY VINYL PRESSING

·      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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Today it is sometimes hard to think of the songs in the early days of rock and soul as anything but innocent and whitebread, befitting the Leave it to Beaver haven, and that parents in that era had nothing to fear. To anyone who believes that I would like to point out the final verse in “Cherry Red,” the opening song to Big Joe Turner’s The Boss of the Blues. Followed around by a few saucy, wah-wah trumpet notes, Turner exclaims:

Now you can take me, pretty mama

Jump me in your Hollywood bed

I want you to boogie my woogie

‘Til my face turns cherry red

On the other hand, considering the times, it seems only a black artist could get away with releasing an album's worth of songs like that in the conservative climate of the 1950s. They may have been called race records, but racy is more like it. “Cherry Red” is just one of several hit songs Turner had made in the previous decade, then re-recorded for Atlantic Records following a career renaissance in his mid-40s which found him merging his Kansas City jump-blues style into rhythm and blues. He also became an early influence on the young rock and roll scene, with his best known R&B hit, “Shake, Rattle, and Roll,” brought to a wider/whiter audience via Bill Haley and His Comets, though in a sanitized version.

Even though Big Joe Turner had a blues voice (with a moniker like that, how could he not?), The Boss of the Blues is less a blues album than a jazz album. In fact, my copy, a 1981 re-issue, labels it as part of the Atlantic Jazzlore Series. Several Count Basie alumni back up Turner on these sides, including Frank Wess on tenor sax, Lawrence Brown on trombone, Freddie Green on guitar, and Walter Page plucking the bass strings.

But the biggest contributor is stride pianist Pete Johnson who is reunited with Turner, having accompanied him on many of these songs in their original incarnation. In fact, Turner and Johnson co-wrote several of these songs, including what sounds like an improvisation, “Roll ‘Em Pete.” Ostensibly a showcase for Johnson’s ivory tickling, Turner sings non-sequiturs and steals the scene on the couplet “You so beautiful but you gotta die some day/I want a little lovin’ just before you pass away.”

The music is taut, appropriate for a band that has played together for years. Listen to the long drawn out opening, led by Johnson, on the lament “Wee Baby Blues,” the longest cut on the album. The band is in perfect synchronicity behind Turner and Johnson on the verses, after which we hear the trumpet, trombone, and saxophone players take short but stately solos.

Or take how the band settles into a swinging groove on “You’re Driving Me Crazy (What Did I Do?),” a song Louis Armstrong made famous when someone added lyrics to the melody of "Moten Swing." The musicians sink their collective teeth so deep into the opening verse and solos that it could be rightly said that they are the stars of the track, with Turner a finger-popping garnishment.

Sometimes that good-time feeling gets the better of them, like on the classic W. C. Handy number, “St. Louis Blues.” Here the arrangement is given a big band flourish, sounding like a celebration of life as Turner sings “I’m as blue as I can be.” Surely he can’t be down for long with such boisterous playing right behind him.

On the slow, sultry “I Want a Little Girl,” Turner sounds drunk on longing, slurring the title until it sounds like he is singing “I wana li girl,” before going on to list a few of the characteristics of his ideal match:

“I don’t care if she don’t wave her hair, doesn’t wear silken clothes

I don’t even care if she don’t wear nylon hose”

The after hours “How Long Blues” features Johnson in the Basie role as pianist and leader of the band as the music swells from a quiet, pre-dawn cool down to a full-blown, wide awake realization that someone’s baby has left town.

The album comes full circle with the slow-burning closer, “Piney Brown Blues.”

Throughout the album's generous 45 minutes, Turner plays it cool, too. Like a one-eyed cat peeping in a seafood store.

 (EXCERPT FROM AN ANONYMOUS ONLINE REVIEW)

Not merely one of the greatest and most important blues albums in history, but THE SINGLE GREATEST BLUES VOCALS ALBUM IN HISTORY, PERIOD. NO IFS, ANDS OR BUTS.

Note: Many Atlantic original master tapes were destroyed in a fire that gutted Atlantic’s Seventh Avenue studio in New York City in the early 1970’s. This is one of the titles irretrievably lost in that fire. If you wish to hear how magnificent this album really is, go for the original or very early pressings – forget about the compact disc, which is made from the later (production or back-up) tape and sounds awful, EVEN with all kinds of digital `baking`.

TO SEE IF WE HAVE OTHER LISTED ITEMS BY THIS GROUP OR ARTIST ►  CLICK HERE

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·                          CONDITION:

·                          THE 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 "deep groove" (an indent in the label about 1/2-inch from the edge of the label, which on SOME labels is associated with very early or first pressings).

(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 the original stock inner sleeve.

(e)         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:

-       Minor 1.1/2 sq. inch water stain noted in one bottom corner  (VISIBLE ON BACK SIDE ONLY)

-       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 2  (front side) and 3 (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 has a small quality control (inspection) stamp on the back panel

-       Cover shows some light yellowing on both sides, apparently from aging.

-       Cover has one corner slightly worn / dinged (just a beginning of the split seam)

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE  COVER

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POSTAGE & SHIPPING:

We offer three postage rates for domestic orders: USPS Media Mail, USPS Priority Mail and USPS Express Mail and three rates for international shipments:  USPS First Class, USPS Priority International Mail, and USPS Express International Mail (in a small number of cases, we will, at our discretion and for purely technical reasons, substitute First Class Mail with eBay's Global Shipping, which is fundamentally the same service at about the same cost). INTERNATIONAL CUSTOMERS PLEASE NOTE: WE RECOMMEND (BUT DO NOT INSIST) that you select USPS International Priority Mail when making a payment.

INTERNATIONAL POSTAGE rates vary from one region of  the world to another. For SPECIFIC international and domestic postage rates, please click on " Shipping, returns, and payments" tab in the header of our listing.

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CRITICALLY IMPORTANT INFORMATION:

(A) All orders valued at $50.00 or more will be shipped fully insured against loss, damage or theft by ShipCover, eBay's contracted insurer, at our expense (B) Yes, we do combine items into a single shipment; in order to enable this feature, the winning bidders should WAIT until their last item of interest ends and ONLY THEN make a payment. Doing otherwise will result in multiple shipments to the same customer and forfeiture of multiple shipping charges already paid. (C) Because we do not play-grade our items, we do not know how the purchased item will play on the buyer's equipment. We can only make reasonable inference on the record's playing condition based on its visual appearance. (D) This seller will NOT cancel erroneous, frivolous and prank bids. The bidders can do so on their own, by visiting eBay's Site Map, then clicking on Bid Retractions link. (E) This seller does not specifically grade or describe certain items, such as: shrink (cellophane) wrap and accompanying extras (inserts, booklets, etc.); however, the presence of these items WILL be noted and accompanied by the gallery photo(s). (F) Please do not submit any bids on our items if you have insufficient user history. (G) Other than in very rare justified cases, failure to pay for the item you won amounts to a fraud and will result in a permanent ban on bidding on our future listings. (H) We will NEVER deliberately, knowingly or willingly provide a false, deceitful or misleading information.

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OUR REFUND POLICY :

WE OFFER UNCONDITIONAL MONEY-BACK GUARANTEE (POSTAGE INCLUDED) WITHIN 30 DAYS FROM THE RECEIPT OF THE MERCHANDISE, NO QUESTIONS ASKED; STILL SEALED ITEMS MUST BE RETURNED SEALED IN ORDER TO BE ELIGIBLE FOR A REFUND.   NO EXCEPTIONS!

FINE (BUT IMPORTANT!) PRINT

 (1) The year indicated in the title bar is the year of the original release,  NOT necessarily the year of the actual pressing; for the actual generation of the pressing, please see our item description (top section, the text in red letters). (2) Please do NOT bid based on the title bar, subtitle bar or item specifics box alone; instead, please read the entire description before bidding; (3) Absolutely NO order cancellations after the auction closes. ever, under any circumstances. We can ONLY cancel bids before the item closes. (4) We are unable to provide matrix-, stamper- or other pressing  information in the final 24 hours of the auction. (5) All disagreements and miscommunications can be - and will only be - solved in a civil and mutually respectful manner; please avoid puerile, offensive, abrasive or menacing language (6) This seller will accommodate all reasonable requests and - unless seriously molested - is generally a flexible, pragmatic and agreeable person.

Our love & appreciation for your trust, loyalty and business, always and forever;  Thank You & Good Night!

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