ORNETTE COLEMAN MUSIC OF O.C. SEALED ORIG '68 STEREO LP

$

64

    
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·       ORNETTE COLEMAN – MUSIC OF ORNETTE COLEMAN – ORIGINAL 1968 RCA VICTOR STEREO LP LSC-2982

·       ORIGINAL U.S. PRESSING

*** STILL SEALED GUARANTEED ORIGINAL FIRST PRESSING ***

·       BELIEVED TO BE PRESSED ON THE ORIGINAL RED RCA VICTOR LABEL WITH "WHITE TOP" [RCA VICTOR’S NAME IS IN WHITE LETTERS], AND ‘DOGGIE’ LOGO ON TOP CENTER OF THE LABEL (WHY RED LABEL, NOT A REGULAR BLACK RCA LABEL? BECAUSE THIS RECORDING WAS CONSIDERED A CHAMBER WORK AND WAS RELEASED IN RCA’S CLASSICAL – NOT POPULAR/JAZZ - SERIES, WHICH HAD A RED LABEL -  NOT TO BE CONFUSED WITH THE ‘70s ‘RED SEAL’ LABEL)

·       THE THICKNESS OF THE VINYL, THE APPEARANCE AND THE CONSTRUCTION OF THE COVER, LABEL’S LOGO AND OTHER PERIPHERAL ELEMENTS OF THE COVER, ARE ALL PERFECTLY CONSISTENT WITH THE ORIGINAL, FIRST PRESSING OF THIS TITLE.

·       TWO “BREATHE” (AIR) HOLES NOTED ON THE SHRINK WRAP

·       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)

·       THICK, HEAVY VINYL PRESSING

(►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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This 1968 RCA Victor LP contains Mr. Coleman's 'Forms and Sounds' for woodwind quintet and two pieces for string quartet – 'Saints and Soldiers' and 'Space Flight'. The performers are members of the Philadelphia Symphony Orchestra – among them the clarinet player Anthony Gigliotti and Mason Jones on French horn  These are probably the best performances I've heard of Ornette Coleman's notated works – certainly better than the orchestral work 'Skies of America' (in either the commercial CBS release or the travesty of a live performance with an uncooperative New York Philharmonic led by a scowling Kurt Masur.)

The fact remains that for Coleman, traditional notation alone is inadequate for the non-improvising musician. Coleman's music, while basically tonal, incorporates intonational and rhythmic subtleties as difficult as those found in the scores of a Ferneyhough or Lachenmann. The improvising saxophonist Evan Parker has made some interesting observations about the so-called 'new complexity' in notated music – much of the resulting music sounds uncannily like the non-notated African-American and European creative music of the 60s onwards. Only in a utopia would one expect virtuosos of notated music – with full-time jobs as orchestral and chamber musicians – to be able to absorb Coleman's empirically-acquired harmolodic principles in the space of a one-day recording session. However, Ornette Coleman remains a great believer in utopias. And as he says here: ' [these musicians] are the best to have ever played my work."

The genesis of 'Forms and Sounds' is fairly well known. Coleman was fed up with the lack of work in New York for his current trio (with David Izenson on bass and Charles Moffet on drums) and, in 1965, took the group to London. He did this without arranging any dates beforehand and ran afoul of England's strict union rules regarding foreign 'popular' musicans. In order to qualify as a 'concert artist', Coleman and his promoter arranged to present his 'concert music' alongside the improvising trio – and 'Sounds and Forms' was premiered at Fairfield Hall in Croydon, London in 1965.

 (EXCERPT FROM AN ANONYMOUS ONLINE REVIEW)

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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)          THE ALBUM IS STILL FACTORY SEALED AND IS BELIEVED TO BE PERFECTLY MINT. Please note: sealed items are assumed to be mint and are sold as-is, as we have no way of inspecting them. For our policy on still sealed records ►click here (PLEASE READ BEFORE PLACING A BID).

(b)          The record comes in the original stock inner sleeve.

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

·       COVER

COVER IS STONE MINT, STILL SEALED AND NOTHING SHORT OF ABSOLUTE PERFECTION, WITHOUT EVEN A HINT OF A FLAW OR DEFECT; A KIND OF BEAUTY YOU ONLY GET TO SEE ONCE IN A LIFETIME.

NO IMPERFECTIONS ON THE COVER:

-        No split seams

-        No ring wear

-        No cut-out (drill) holes.

-        No cut-out corners

-        No saw-marks or indents

-        No dirt/dust rubbing stains (friction marks caused by rubbing against other covers)

-        No wrinkles or creases

-        No yellowing from aging

-        No writing

-        No stamps

-        No tearing: no chips, dents or nicks on the seams

-        No peel-off marks

-        No stains

-        No mold or mildew spots

-        No stickers or labels

-        No water damage

-        No razor marks, scratches, pressure marks, lines, streaks, or  cuts.

-        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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