DIZZY GILLESPIE & COUNT BASIE "THE GIFTED ONES" PABLO FIRST PRESSING
"THE GIFTED ONES"
DIZZY GILLESPIE & COUNT BASIE
WITH JOE PASS, RAY BROWN & MICKEY ROKER
LABEL: PABLO RECORDS – 2310 833
RECORDED: FEBRUARY 3, 1977 ~ LAS VEGAS RECORDING STUDIOS
RELEASED: 1979
PRODUCER: NORMAN GRANZ
RECORDING ENGINEER: VAL VALENTINE
PRESSED BY ALSHIRE CUSTOM PRODUCTS
MATRIX (SIDE A): 2310 833 PP 2147 ALSHIRE
CONDITION: VINYL: VG+ JACKET: VG+ ('CUT OUT' NOTCH)
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I've been going thru my massive vinyl record collection these past few weeks and pulling out some LPs that I thought that someone else would want for their collection. I've been collecting records for over 45 years and it's time to pass some of them on to the next generation of collectors.
This week on EBay I am offering up this original First Pressing of the "THE GIFTED ONES" on the premium, audiophile quality 'Pablo' record label.
This is my original copy, 'borrowed' from my College radio station, back in the late 70's, shortly after it's release. I've taken great care of it for many years. See details on Condition below.
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This is an original First Pressing, gatefold, pressing. This pressing has a literal 'cut out' notch in the top right corner.
This was recorded at Las Vegas Studios, in Las Vegas on February 3rd, 1977.
This terrific album was re-issued in 1996 as an OJC Original Jazz Classic CD, and has also been issued on vinyl in Europe in a non-gatefold version, but was only released once on vinyl in the U.S., I believe.
These First Pressings sound best and are just amazing. Everything sounds natural, crisp, warm, and well balanced.
This is an album of fantastic small-group traditional & bluesy jazz. The communication and interplay between the musicians is outstanding, a very solid collective effort, and a really enjoyable and rewarding listen.
Like most 'Pablo' releases, this pressing reveals just how deeply layered, dynamic and intense the music is. The instruments are well separated, crisp & clear, and there's a good sense of space and depth. The overall sound is warm, intimate, vibrant and dynamic.
There is no 'formula' for creating a great jazz session, they just happen under the right circumstances. Obviously the 'right' musicians need to be present, but that doesn't guarantee anything.
On this session for "The Gifted Ones", the chemistry was exactly right, creating one of the best jazz albums I've ever heard.
This session was recorded in 1977, but if you shut your eyes and listen, it sounds clean, pure and retro, almost like it was recorded in the late fifties. It's a great timeless record.
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Norman Granz put this session together, brilliantly pairing Dizzy Gillespie and Bill 'Count' Basie.
The musicians that Norman Granz put together for this terrific session includes:
Count Basie - piano
Dizzy Gillespie - trumpet
Joe Pass - guitar
Ray Brown - double bass
Mickey Roker - drums
This session features 2 'new' songs co-written on the spot by Basie & Gillespie, "Back to the Land" and "Follow the Leader," two Dizzy songs, "Ow!" and "Constantinople", a Frank Foster Basie Band song "You Got It" and an impromptu cover of the timeless "St. James Infirmary Blues."
The songs are played perfectly, full of expression, and both Basie and Dizzy take turns making their instruments swing.
Dizzy's trumpet tends to dominate this session, but everyone is engaged and involved.
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Norman Granz knew that there was a deep, common denominator between the two jazz masters.
Dizzy Gillespie started out in swing-era big bands, but is best known for his Bebop innovations and his playing with Charlie Parker.
Count Basie led a hip, swinging Big Band for decades, but has also done some small group recordings.
They had extensive Jazz knowledge and experience that they brought to this session. Their interactions are almost telepathic.
They are both masters of the blues and rhythm, which are clearly evident on this album. They blend their skills perfectly.
This group of musicians blends together well and play with amazing enthusiasm, inventiveness, and flexibility.
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Dizzy and Basie also perform together flawlessly. Dizzy plays with a powerful, but restrained, ferocity that perfectly compliments Count Basie's sparse piano style.
This great jazz album reveals what a perfect match Dizzy Gillespie and Count Basie were for each other.
Gillespie had a unique tone and unmatched technique on trumpet.
Basie had his own unique piano sound, which employed minimal, carefully chosen notes & chords, to create the maximum sense of feel and swing.
I've always enjoyed the sparseness of Basie's playing. He doesn't unleash a flurry of notes, he plays just the right amount, at just the right time, which opens up the music and gives it room to breathe.
Pianist Count Basie plays in his usual, laid back, subdued style, but still manages to lay down some excellent, interesting and inspired solos.
Basie had a deep understanding of this style of music and knew the best way to express it.
Dizzy Gillespie was known for some blistering Bebop solos, spicy Afro-Cuban flavors, and scorching playing, but here Dizzy is relatively subdued, but still contributes fantastic, interesting solos.
Dizzy shows off his assertive style, without overpowering the other players.
Speaking of the other players, although the album is titled for Dizzy and Count, Ray Brown's Bass is the secret ingredient here.
His smooth, well played bass-lines are the perfect 'glue' that holds this session together.
Ray Brown has decades of experience playing with some of the best jazz musicians, and has developed the perfect 'ear' and feel for playing this style of Jazz.
He's not flashy, or trying to show off, he's just holding down the smooth, soulful groove, by playing the right notes, at the right time, to hold the songs together.
It's amazing and a real teat to hear him play. He has such feel for this music, and his notes are perfectly placed.
His technical skills, rich warm tone, and soulfulness contribute to every song, without overpowering any of them. Every chord, every note, is just perfect.
Drummer Mickey Roker plays fantastic as well. His crisp, steady, swinging style is a perfect match for the music and really drives this session forward.
His playing gives the music amazing power, soul, and a reassuring tight swing feel.
Together, Ray Brown and Mickey Roker were the perfect rhythm section for this session.
I think Norman Granz instinctively knew exactly what he was doing by choosing these veterans to play behind Dizzy and Basie.
Ray Brown and Mickey Roker are solid, tight and swinging. Critical to the flow of the music, yet they have enough experience and flexability to complement both Dizzy and Basie's different styles and support their solos.
Each member of the group is listening to each other, responding to each other, and critical to all that's going on around them. That's what makes this album so incredible.
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This original gatefold version contains great photos of Basie and Dizzy smiling ear to ear, as well as fantastic liner notes written by Joe Pass on the inside.
Despite being recorded very well, and sounding fantastic, there are a lot of mediocre 'Pablo' releases from the late 70's, but this album is a true classic and one of a handful of Pablo releases that are perfect and essential to any Jazz vinyl collection.
This release features two of the greatest jazz musicians of all time, in a small group setting, with fantastic side-men, playing the music they helped invent and create.
Perfect choice of musicians, outstanding playing, great song selection, and recorded perfectly. There's not really any way to describe it other than as a true masterpiece.
Many jazz fans, myself included, consider this album to be one of the best jazz albums ever.
This album just grabs you from the very first listen. It's one of those great jazz albums to play for people who claim they don't like jazz.
The sound is fantastic; each musician is a master of their instrument, the music swings hard, but it's very melodic, and not abrasive at all.
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Overall, a great jazz album and one that belongs in your vinyl record collection.
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CONDITION: I tried to show good hi-resolution photos of the cover, labels and vinyl in my pictures.
I was Music Director at my College radio station when this was released. When it arrived at our station, I listened to it, loved it, and realized I needed to take it home for further 'study'. I guess I 'forget' to return it! I've taken great care of it since.
VINYL: The vinyl looks decent. Some signs of wear and play, but still VG+. No serious scuffs, palpable scratches, or dings.
The Deadwax has the Pablo catalog number and the Alshire stamp.
See the full Matrix numbers above.
I tried to show some close-up pictures of the vinyl to show how decent it looks.
I haven't messed with it or cleaned it, other than my trusty 'DiscWasher' brush, in 40 years. It could use a good deep cleaning to make it even bettter looking and better sounding than it already is.
LABELS: This is pressed with the 'classic' early tan Pablo labels.
The labels are clean and bright, but they have my old radio station's red 'dots' indicating the best tracks for airplay. Not that big of a deal, but it should be pointed out.
The spindle holes are still sharp and clean, suggesting minimal playing and my careful handling over the years.
JACKET: As you can see from my pictures, this still looks very nice for a 40 year old copy. There is a 'cut out' notch in the top corner, but otherwise a nice clean jacket.
Usually these all 'black' Pablo jackets show significant dings, wear and ringwear, but this copy still looks nice.
There's some minor shelf wear, minor ringwear at the top of the back cover, and minorly bumped corners, but the artwork is bold and bright, and the original gloss is still present.
The inner gatefold is clean and crisp. A nice survivor.
Overall, I'll call the whole record a strong VG+
This record has been sleeved and stored properly for decades, and is still quite nice for an original pressing. This copy is all original, and a real gem. I'm sure you'll love it.
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** NOTE: I'm selling this rare 'Collector' record "AS IS" and "NO RETURN". It's rare and as described and I'm sure you'll be very happy with it.
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I’m recently retired and downsizing and letting go some gems and rarities from nearly 45 years of vinyl record collecting. Check out the many other fantastic 45s and 33s coming soon to my page!
All records have been carefully evaluated and graded by me. I visually inspect all records under bright light, personally gently clean them with a soft cloth and then, if unsure, play them on a modern high-end turntable to get a true picture of condition.
Please look at all the high-resolution pictures I added. They are all my own and are of the actual record being sold. The pictures are part of the description and can show small details, label variations, and condition better than I can put into words.
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THANK YOU for looking and reading if you got this far. -- JOHN