Free Jazz HOWARD RILEY Flight Turtle UK 1971 G/F cover... LEGENDARY

	£		100
	$		133

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graded VG/VG++ for a strict Record Collector magazine grading system


label: super rare label for a jazz british jazz collector. The same label of John Taylor lp Pause and Think Again. Yellow background and brown turtle drawings, rough texturing and no wear, no pen writings ...just a couple of light marks around the hole on side 2. Matrix Number TUR 301. EX grade.
cover: the cover it's very fascinating to my eyes but it's prone to the wear and this one does have some general wear ,  a small semi recoloured tear on front right central edge,  a removing sticker ghost on back and a start of ring on back upper side...hence VG for a trict Record Collector Magazine grading system.
vinyl:The vinyl does not have marks on side one but does have 3 marks on side 3 marks but not feelebles under the finger and I have played the full side without any problems during the plays so I can give an accurate VG++ grade for a strict grade and before a good washing that surelly will improve the sound quality...if possible, because it's absoluttelly of high level as if would be a DECCA pressing.
review: the is a review done from an expert Jazz reviewer: "British pianist / composer Howard Riley has been a pivotal figure of the modern British Jazz and later Improvised Music since the late 1960s. Completely unorthodox and original, his approach to music making is a complete innovative universe, in which he and some of his close collaborators created the next plane in the history of Jazz in particular and music in general. Although the European avant-garde exploded a few years later then the first wave of US Free Jazz pioneers like Ornette Coleman, Albert Ayler, Eric Dolphy and John Coltrane, it developed in a new direction rather than copying or following the path initiated by the US giants. As radical as the US Free Jazz might have appeared at the time, it was after all deeply rooted in the Jazz tradition and in many respects developed as an extension of Bebop. The Europeans, most of them in their twenties when they initiated the European Free Improvisation school, had little, if any, experience playing Bebop and the new direction was developed spontaneously rather than consciously (or sub consciously). The social upheaval and general anti-establishment wave that swept Europe in the late 1960s might have served as a psychological background for these musical developments, as the quest for freedom of expression and rebellion against established musical forms was the central motif of the European Free Improvisation movement. Young European musicians in Britain, Germany, France, Netherlands and even behind the Iron Curtain (Poland, East Germany) decided to take a bold step towards exploration of a new musical universe, unbound by any preconceptions and limitations - harmonic, rhythmic or otherwise. The movement started in the late 1960s but only truly crystallized by the early 1970s, and this album is certainly one of the first focal point of European Free Improvisation. It was Riley’s fourth solo album, following his daring debut “Discussions” from 1967 and two trio albums recorded for CBS (“Angle” & “The Day Will Come”). Exceptionally gifted bassist Barry Guy, who was a member of Riley’s trio from the very beginning, took part in all the recordings, and would be his partner for many years to come. However, the decisive factor and the catalyst, which turned this recording into a momentous leap forward was the participation of one of Europe’s most inventive and original drummers – Tony Oxley. The resulting trio – Riley / Guy / Oxley – turned out to be an unstoppable musical hurricane of exploration and spontaneous invention beyond anything previously encountered. The album starts with a furious barrage of a 20 minutes long collective improvisation, which moves between trio, duo and solo performances of immense intensity and complexity. Some incredible sounds are extracted from the respective instruments, creating an incredible collage of sonic expressions. In complete contrast, the second part of the album is a complete anti-climax, with the trio performing some contemplative music, quiet and delicate and at times almost lyrical, as on the two ballads. Make no mistakes here – this is not a return to mainstream Jazz. These quiet pieces are as free and improvised as they come, but the fury of expression is subdued here and replaced by the balance between sound and silence, interplay and caressing the instruments. Overall this is a monster album, revolutionary, innovative and groundbreaking. Released originally on the legendary Turtle label, this reissue finally brings this musical treasure back to life, for all the people who never had the opportunity to hear it at the time. Although Riley would prove to be very prolific and record many exceptional albums in the future, this one is especially dear to my heart, as it opened windows nobody previously knew existed. A musical Magnum Opus, beyond essential! "....very rare really so Don't miss! SORRY for the reserve price but this is really the minimum I can accept for a so rare item and this is a correct auction very different the many "pushed up" auctions I see all around! Please open your eyes!
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KEYWORDS: Progressive, Underground, Psychedelic, Psych, Prog, Vertigo, Harvest, Island, Deram,  Beat, Folk, Jazz, British, first press.