HANK MOBLEY PECKIN' TIME RARE ORIG'57 BLUE NOTE MONO LP

$

866

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·       HANK MOBLEY with LEE MORGAN, PAUL CHAMBERS, WYNTON KELLY AND CHARLIE PERSIP – PECKIN’ TIME – ORIGINAL 1958 BLUE NOTE RECORDS MONO LP BLP-1574

·       ORIGINAL U.S. PRESSING

·       ORIGINAL WHITE AND BLUE 'BLUE NOTE' LABEL WITH '63RD STREET, NEW YORK',  ADDRESS ON THE LABEL

·       DEEP GROOVE PRESSING

·       The record has an "EAR" symbol (a pretzel-like engravure about 1/4-inch/6mm long) in the trail-off vinyl, which on SOME jazz labels is associated with very early or first pressings)

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

·       NO Registered Trademark symbol  [®] at the bottom part of the label !

·       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

·       THICK, HEAVY VINYL PRESSING

·       CLEAN, WEAR-FREE LABELS (MINOR SPINDLE MARKS NOTED!)

 (►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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By universal acclaim, Peckin’ Time is one of Blue Note’s greatest and most enduring sessions – and one of the RAREST Blue Note albums in existence. Find out why for yourself.

On an interesting note: this album is always credited to Hank Mobley and is usually listed under his solo  discography; however, as both panels of the cover make it abundantly clear, this was a collaborative, joint effort between Hank Mobley AND Lee Morgan, and both players receive equal co-billing on the cover.

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Tenor saxophonist Hank Mobley was overshadowed by more influential tenors such as Sonny Rollins and John Coltrane during his career, but although he wasn't deliberately flashy or particularly innovative, his concisely measured, round sax tone made him the perfect ensemble player and he was a fine writer, as well, a talent who has often been undervalued and overlooked. The Peckin' Time session was recorded February 9, 1958 (the LP was issued a year later) and came in the midst of what was a period of whirlwind creativity for Mobley, who recorded work for the Savoy and Prestige imprints as well as six full albums for Blue Note (two were never released -- it was not that uncommon for Blue Note to stockpile sessions at the time) in a little more than a year's time (later Blue Note albums like Soul Station and Roll Call were still well in the future). For this session, Mobley found himself working with a young Lee Morgan on trumpet and in front of a fluid rhythm section that included pianist Wynton Kelly, bassist Paul Chambers, and drummer Charlie Persip, and it's solid stuff, bright and always energetic. All but one of the tracks, a rendering of Kurt Weill's "Speak Low," were written by Mobley, and again, his hidden strength was always his writing, and it should probably come as no surprise that the best two tracks here, the title tune "Peckin' Time" and the wonderful "Stretchin' Out," were both penned by Mobley. It all adds up to a fine program, and if Mobley didn't push the envelope a whole lot, his lyrical and economical playing was always appropriate and graceful, and that's certainly the case here.

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

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

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

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

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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 STRONG VERY GOOD+(+) . CAUTION: The vinyl is NOT MINT or NEAR MINT, but is nevertheless in a very nice and clean condition. There are some surface marks and abrasions, mostly light and superficial, although some may be longer than 1.1/4 inches (1 inch = 2.5 centimeters)

(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 has an "ear" symbol (a pretzel-like engravure about 1/4-inch/6mm long) in the trail-off vinyl, which on SOME  jazz and blues labels (such as Blue Note; Folkways; Period, etc…) is associated with very early or first pressings). The 'ear' symbol is actually a letter 'P' in italic script, denoting a pressing made by Plastilite Corporation’s pressing plant.

(d)          The record has a ►Rudy Van Gelder 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.

(e)           The record is apparently 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!

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

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

THE COVER IS ABOUT VERY GOOD+ (VG+)

The following flaws or imperfections are noted on the cover:

-        Cover has three corners slightly worn / dinged / bent.

-        Minor yellowing on fiber thread used for binding front and back panel (centers on top and bottom seams -- highly typical of Blue Note's 1950s covers)

-        Cover has all three seams (top, bottom and spine) partially split,  as follows:

-        Top seam: between 2 and 4 inches  / 5 to 10 centimeters. This split seam was delicately taped by the previous owner with a piece of transparent scotch tape; This split seam was delicately taped by the previous owner with a piece of transparent scotch tape 

-        Bottom seam: between 2 and 4 inches  / 5 to 10 centimeters.

-        Cover has some fraying/wear along the lower seam and spine

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

-        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 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 4 (back side)

-        A visible water stain affects the area about 4 square inches on back panel; there is no structural damage to the cover, and both cardboard base and paper slick are intact, however, the stain is visible

-        Cover has a small peel-off mark, probably from the careless removal of the price sticker. (less than ¼ square inch in size)

-        The cover has a few tiny scratch marks on the back side

-        Cover has a few tiny wrinkles along the spine

NO OTHER IMPERFECTIONS ON THE COVER:

-        No cut-out (drill) holes.

-        No cut-out corners

-        No saw-marks or indents

-        No writing

-        No stamps

-        No mold or mildew spots

-        No stickers or labels

-        No water damage

-        No warping

-        No wax, glue, paint or liquid drops on the cover

-        No glue traces or wax residue.

-        No bar codes

-        No RIAA stamps or stickers. 

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POSTAGE & SHIPPING:

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