Track Selection: You’re Not The Kind (Gryce)
Lee Morgan (tp) Benny Golson (ts) Ray Bryant (p) Percy Heath (b) Philly Joe Jones (d)Nola’s Penthouse Sound Studios, NYC, November 17, 1958
Just across the river from New Jersey, soon to be home of Grover Washington Jr, grandfather of Smooth Jazz, and Harold Melvin & the Blue Notes, whose records stray with irritating regularity into Ebay searches for “Blue Note” (no relation).
Benny Golson here adding The Arranger string to his bow, to mix metaphors for this fine energetic tenor saxophonist, best remembered for his stint with Art Blakey’s Jazz Messengers ( that great solo in “Moanin’”) and his later pairing with Art Farmer in the precision-bop Jazztet. Golson went on to a succesful career as a composer/ arranger in film and television, leaving behind a great catalogue of original compositions, and unlike his many peers, always seen smiling on his album covers.
Morgan’s glittering silvery trumpet continues to delight, Ray Bryant matches the high energy of the other lead players, and how could one not include “Philly Joe” Jones on drums, and Percy Heath, the heartbeat of MJQ. Just because you are not Sonny Rollins or Bud Powell doesn’t mean you can’t play great jazz, and these Philadelphians swing and cook with the best.
Vinyl: United Artists UAL 4020
US second or subsequent pressing (thanks for correct attribution Bob!) probably early Sixties. The original from 1958 pictured right, poached from Popsike.
Deep groove, pressed by Plastylite NJ (ear). Rich room-filling weighty mono, though a little light in the top-end compared with RVG Blue Notes.
Second Cover:The less said about the second cover the better: typography-for-beginners class, repeated in monochrome on the rear. And a couple of paragraphs short of a full set of liner notes.
Source: Ebay Location: UK
Sellers description: COVER VG+ HAS IMPORT STICKER ON FRONT WHICH COULD EASILY BE REMOVED, RECORD CONDITION NEAR MINT
“Near Mint” visually, though a small degree of surface noise from previous handling that you have no choice but to accept.
United Artists Jazz can be great value to the collector-listener as it does not have the cachet (or price!) of Blue Note and Prestige, yet their portfolio of releases from the late 50′s and early 60′s features many of the same artists and includes many fine unique recordings (Bill Evans Undercurrent, Kenny Dorham Matador etc). And occasional Plastylite pressing is a bonus. UA Jazz is not to be confused with the later corporate entity United Artists Music and Records Group of the Seventies, who went on to make a mess of the Blue Note catalogue, before giving up the ghost entirely and handing it over to EMI – the Evil Music Industry.
Note: Post updated 11th September 2012 – attribution corrected courtesy of BD (see comments)