HAR-YOU PERCUSSION GROUP SOUNDS OF GHETTO YOUTH INSANELY RARE ORIG '65 ESP LP NM

$

2,025

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·       THE HAR-YOU PERCUSSION GROUP – THE SAME-TITLED FIRST (AND ONLY) ALBUM (“HAR-YOU PERCUSSION GROUP”) -  INSANELY RARE TRUE FIRST PRESSING  ORIGINAL 1966 ORO/ESP-DISK STEREO LP ORO-5 (THIS IS ONLY THE THIRD COPY WE’VE SEEN IN ABOUT 40 YEARS OF COLLECTING AND THE FIRST, THE ONE AND THE ONLY FIRST PRESSING IN BLACK & WHITE COVER WE HAVE EVER SEEN!)

·       ORIGINAL U.S. PRESSING

·       ORIGINAL,  UNIQUE TO THIS TITLE,  ORANGE ORO/ESP “ART” LABELS WITH BLACK IMAGES OF THE GROUP MEMBERS ARRANGED ALONG THE PERIMETER 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)

·       INSANELY RARE TRUE FIRST COVER (BLACK & WHITE VERSION OF THE COVER)

·       CLEAN, WEAR-FREE LABELS

·       THICK, HEAVY VINYL PRESSING

·       THE RECORD HAS 'AUDIOMATRIX' STAMP IN THE TRAIL-OFF VINYL (DEAD WAX) AREA, WHICH IS GENERALLY CONSIDERED A PROOF OF AUTHENTICITY OF THE FIRST 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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The 1964 events that led to the creation of the HAR-YOU project and the formation of the HAR-YOU Percussion Group out of the Harlem Youth Act were the stuff of legend: consider, for instance, the fortuitous meeting of extraordinarily talented bassist and Charles Mingus student Julien Euell, in his incarnation as Executive Director of the Arts & Culture Division of the HAR-YOU Act, and Musical Director Roger "Montego Joe" Sanders in 1965. The mandate was to create a music outreach program. Altruism and city funding aside, the result was equally legendary. Here preserved on this recording, Sounds Of The Ghetto, is a classic manifesto.

The band is not, strictly speaking, a percussion group, but more a large Afro-Cuban ensemble, brought together by "Montego Joe," a percussionist who taught the group and was also its music director. There is an earnestness and authenticity that is absent from many recordings of that era. In fact, this recording will rank with Alan Douglas' Last Poets recording This Is Madness (Metrotone, 1971), albeit using a different, instrumental idiomatic format—Afro-Cuban to be exact. Tracks such as "Feed Me Good" and "Barretts Bag" only serve to provide a tantalizing taste of the rhythmic excursion that follows. The real stuff comes shortly thereafter; in the energetic bursts of polyrhythmic invention on "Ngoma" and "Oua-Train" are the iconic musical excursions of a generation that first discovered its Afrocentricity, but with guileless transparency and ingenuity.

The instrumentalism is dazzling. Saxophonist Nelson Sanamiago (on "Oua-Train") and bassist John Moody are memorable for their ideas and virtuosity. The percussionists themselves—Myles Mathews, Billy King, Sam Turner, Gordon Jones and Joseph Jimenez, are exquisite on "Ngoma" and "Welcome To The Party". It may have been an act of government to create the HAR-YOU Project, but it was certainly an inspired act of determination and belief that enabled Roger "Montego Joe" Sanders to bring this project to ESP-Disk and Bernard Stollman, who would release it in 1967. Now the record appears once again from the ESP Archives, and it sounds as fresh and musically relevant as the day it was produced.

 (EXCERPT FROM AN ONLINE REVIEW BY RAUL D’GAMA-ROSE, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

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

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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 EXCELLENT. This is one of those albums that are somewhat difficult to grade. It is somewhere between VG++ and NEAR MINT, just a notch below NEAR MINT. A few light abrasions ARE visible, but they are extremely shallow, superficial  and only moderately visually distracting (nothing significant).For the most part, the vinyl looks impeccable without any MAJOR visual flaws or imperfections. Much of the original luster is intact, and the vinyl shines and sparkles almost like new.

(b)          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!

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

·       COVER (THIS IS THE RARE ORIGINAL BLACK & WHITE COVER)

THE COVER IS NICE --- ABOUT EXCELLENT OR VERY GOOD+++.

The following flaws or imperfections are noted on the cover:

-        Cover has a tiny, barely visible cutout hole in one of the corners

-         Cover has JUST A HINT of 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.

-         Cover shows JUST A HINT of yellowing on both sides, apparently from aging (nothing significant)

-         Cover has a few tiny wrinkles along the spine

-         Minor shelf wear noted on the seams (nothing significant)

NO OTHER IMPERFECTIONS ON THE COVER:

-        No split seams

-        No cut-out corners

-        No saw-marks or indents

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

-        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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