ITEM: VINYL 12” LP 33 1/3rpm
ARTIST: JOE PASS
TITLE: The Stones Jazz
COUNTRY PRINTED: Not stated but probably OZ
CAT No: FESTIVAL, FL 32099
White label PROMO
COVER: Plain white
LABELS: (Grade at NEAR MINT+)
VINYL: (Grade at EXCELLENT) very light marks
TRACKS:
All songs by Mick Jagger and Keith Richards unless otherwise noted.
1. "Play with Fire" (Nanker Phelge)
2. "19th Nervous Breakdown"
3. "I Am Waiting"
4. "Lady Jane"
5. "Not Fade Away" (Buddy Holly, Norman Petty)
6. "Mother's Little Helper"
7. "(I Can't Get No) Satisfaction"
8. "Paint It Black"
9. "What a Shame"
10. "As Tears Go By" (Jagger, Richards, Andrew Loog Oldham)
11. "Stone Jazz" (Joe Pass)
PERSONNEL:
· Joe Pass – guitar
· Milt Bernhart – trombone
· Dick Hamilton – trombone
· Herbie Harper – trombone
· Gail Martin – trombone
· Bill Perkins – tenor saxophone
· Bob Florence – piano, arranger, conductor
· Dennis Budimir – guitar
· John Pisano – guitar
· Ray Brown – double bass
· John Guerin – drums
· Victor Feldman – percussion
· Bruce Botnick – engineer
COMMENT: Wiki
Joe Pass (born Joseph Anthony Jacobi Passalaqua; January 13, 1929 – May 23, 1994) was an American jazz guitarist of Sicilian descent. He is considered one of the greatest jazz guitarists of the 20th century.[1][2] He created possibilities for jazz guitar through his style of chord-melody, his knowledge of chord inversions andprogressions, and his use of walking basslines and counterpoint during improvisation. Pass worked often with pianist Oscar Peterson and vocalist Ella Fitzgerald.
New York magazine said of him, "Joe Pass looks like somebody's uncle and plays guitar like nobody's business. He's called 'the world's greatest' and often compared to Paganini for his virtuosity. There is a certain purity to his sound that makes him stand out easily from other first-rate jazz guitarists."[2] His solo style was marked by an advanced linear technique, sophisticated harmonic sense, counterpoint between improvised lead lines, bass figures and chords, spontaneous modulations, and transitions from fast tempos to rubato passages. He would add what he called "color tones" to his compositions to give what he believed was a more sophisticated and funkier sound. He would often use counterpoint during improvisation, move lines and chords chromatically, or play melodies by shifting chords and descending augmented arpeggios at the end of phrases.
Pass's early style (influenced by guitarist Django Reinhardt and saxophonist Charlie Parker), was marked by fast single-note lines. He would break his guitar picks, playing only with the smaller part. As he made the transition from ensemble to solo guitar, he abandoned the pick to play fingerstyle. He found this enabled him to execute his harmonic concepts more effectively.
He weaves his own fast-moving chords and filigree work so nimbly that it is hard to believe fingers can physically shift so quickly. Slight moustached, fairly balding, he frowns over his fretwork like a worried head waiter with more guests than tables but the sound that comes out could only be the confident product of years of devotion to the instrument... But it is when he plays completely solo, which he does for half of each set, that he comes into his own, because without hindrance of the rhythm section he can completely orchestrate each number. Sometimes it is by contrasting out of tempo sections with fast-moving interludes, sometimes by switching mood from wistful to lightly swinging, sometimes by alternating single-note lines with chords or simultaneous bass line and melody-the possibilities seem endless. Luckily, there is a new L.P. by him which captures all this on vinyl, as someone has had the unusual good sense to record him all alone. It is called Virtuosoand rightly so.
— Miles Kington on Pass in an October 1974 article in The Times.
COMMENT #2: Wiki
The Stones Jazz is an album by jazz guitarist Joe Pass that was released in 1967. Except for one song, all tracks are jazz covers of songs recorded by The Rolling Stones.
VINYL GRADING SYSTEM
MINT:
RECORD: New condition with no surface marks or loss of sound quality.
COVER: New condition with no surface marks, creases or wear. NEAR MINT:
RECORD: Barely noticeable surface mark with no loss of sound quality.
COVER: Barely noticeable surface mark/ wear. EXCELLENT:
RECORD: Some signs of being played with extremely little if no loss of sound quality.
COVER: Slight wear or creasing. VERY GOOD:
RECORD: Obviously been played with noticeable surface marks & the occasional light scratches but exhibits no major loss of sound quality.
COVER: Noticeable wear on cover, seam or spine. +(PLUS)/-(MINUS): Slightly up or down in condition as appears in the comments above. NOTE: Gradings are done visually unless there appears to be a questionable surface mark on the vinyl, it is then put on the turntable to check. A comment describing the outcome will appear if this is the case.
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