Alto saxophonist arranger Gigi Gryce and trumpeter Donald Byrd's innovative, but unfortunately short lived Jazz Lab Quintet recorded several sides during 1957, seven of which were released on this excellent Columbia album a handful of other titles were collectively made for Riverside, Verve, and RCA. The nucleus band of Gryce, Byrd, pianist Tommy Flanagan a spot also filled by Wade Legge and Hank Jones, bassis and drummer Art Taylor are augmented on four cuts here by trombonists Benny Powell and Jimmy Cleveland, French horn player Julius Watkins, baritone saxophonist Sahib Shihab, and tuba player Don Butterfield. The expanded ensemble turn in fleetly swinging renditions of Horace Silver's "Speculation" and Gryce's "Nica's Tempo" while varying the mood a bit with a ballad reading of Benny Golson's "I Remember Clifford" and a Far East-tinged waltz take on Randy Weston's "Little Niles" shades of Miles Davis' Birth of the Cool group are heard in the complex, yet featherweight arrangements by Gryce. The quintet tracks include Gryce's "Sans Souci" and a provocative version of "Over the Rainbow." With some of the best arrangements heard in jazz and excellent solos by Gryce, Byrd, and Flanagan, Jazz Lab makes for an excellent introduction to the hard bop catalog.

SIDE A. - track list:
1. Speculation 2. Over the rainbow 3. Nica's tempo 4. Blue Concept

SIDE B. - track list:
1. Little niles 2. Sans souci 3. I remember Clifford

The nucleus of the Jazz Lab Quintet - Gigi Gryce - alto sax, Donald Byrd - trumpet, Tommy Flanagan - piano, Wendell Marshall - bass, Art Taylor - drums.

Jazz has been called America's classical music, and for good reason. Along with the blues, its forefather, it is one of the first truly indigenous musics to develop in America, yet its unpredictable, risky ventures into improvisation gave it critical cache with scholars that the blues lacked. At the outset, jazz was dance music, performed by swinging big bands. Soon, the dance elements faded into the background and improvisation became the key element of the music. As the genre evolved, the music split into a number of different styles, from the speedy, hard-hitting rhythms of be-bop and the laid-back, mellow harmonies of cool jazz to the jittery, atonal forays of free jazz and the earthy grooves of soul jazz. What tied it all together was a foundation in the blues, a reliance on group interplay and unpredictable improvisation. Throughout the years, and in all the different styles, those are the qualities that defined jazz.

Although some claim that Hard Bop arose as a reaction to the softer sounds featured in cool jazz, it was actually an extension of bop that largely ignored West Coast jazz. The main differences between hard bop and bop are that the melodies tend to be simpler and often more "soulful"; the rhythm section is usually looser, with the bassist not as tightly confined to playing four-beats-to-the-bar as in bop; a gospel influence is felt in some of the music; and quite often, the saxophonists and pianists sound as if they were quite familiar with early rhythm & blues. Since the prime time period of hard bop (1955-70) was a decade later than bop, these differences were a logical evolution and one can think of hard bop as bop of the '50s and '60s. By the second half of the 1960s, the influence of the avant garde was being felt and some of the more adventurous performances of the hard bop stylists (such as Jackie McLean and Lee Morgan) fell somewhere between the two styles. With the rise of fusion and the sale of Blue Note (hard bop's top label) in the late '60s, the style fell on hard times although it was revived to a certain extent in the 1980s. Much of the music performed by the so-called Young Lions during the latter decade (due to other influences altering their style) was considered modern mainstream, although some groups (such as the Harper Brothers and T.S. Monk's sextet) have kept the 1960s' idiom alive

The Vinyl Record...,

Vinyl records were introduced and marketed as the unbreakable record, unlike its shellac counterpart of days gone by, that would break at the drop of a hat and became more brittle over time.

Vinyl records are made from polyvinyl chloride (PVC) which has been proven to be a most stable material for sound recording. As a practical matter, vinyl records provide excellent sound quality when treated with care.

Records were the music source of choice for radio stations for decades, and the switch to digital music libraries by radio stations has not produced a noticeable improvement in sound quality..., as a note most radio stations severely reduce the dynamic range of their broadcasts and the allowed frequency bandwidth for a radio station is less than the bandwidth on a well-made record. Casual ears cannot detect a difference in quality between a CD and a clean new LP.

A vinyl record is an analog sound medium that consists of a flat disc record with an inscribed modulated spiral groove usually starting near the outside edge (lead-in) and ending near the center of the record (lead-out).

The audio content of the record is contained within the spiral groove which extends for more than a half mile. The groove itself is actually narrower than the thickness of a human hair yet is capable of producing the highest frequencies the human ear can detect, to the fundamentals that are felt rather than heard.

The audio recording stored in this groove is played back by rotating the record clockwise at a constant rotational speed with a stylus or needle placed in the groove, converting the vibrations of the stylus into an electric signal and sending this signal through an amplifier to the speakers.

The normal commercial disc is engraved with two spiral grooves, one on each side of the record.

The Anatomy of a Record...No Bones About It.

There is an area about 0.25 in (6 mm) wide at the outer edge of the disk, called the lead-in where the groove is widely spaced and silent. This section allows the stylus to be set at the start of the record groove, without damaging the recorded section of the groove.

Between each track on the recorded section of an LP record, there is usually a short gap of around 0.04 in (1 mm) where the groove is widely spaced. This space is clearly visible, making it easy to find a particular track.

Towards the label center, at the end of the groove, there is another wide-pitched section known as the lead-out (dead wax). At the very end of this section, the groove joins itself to form a complete circle, called the lock groove; when the stylus reaches this point, it circles repeatedly until lifted from the record.

the catalog number and stamper ID is written or stamped in the space between the groove in the lead-out on the master disc, resulting in visible recessed writing on the final version of a record. Sometimes the cutting engineer might add handwritten comments or their signature, if they are particularly pleased with the quality of the cut.

Records Have Standards Too!!

Vinyl record standards for the United States follow the guidelines of the RIAA Recording Industry Association of America.

The inch dimensions are nominal, not precise diameters. The actual dimension of a 12 inch record is 11.89 in. (302 mm), for a 10 inch it is 9.84 in. (250 mm), and for a 7 inch it is 6.89 in. (175 mm).

Records made in other countries are standardized by different organizations, but are very similar in size.

Picture Discs, Colored Vinyl or Just Carbon Black

For the most part records are pressed on black vinyl. The coloring material used to blacken the transparent PVC plastic mix is carbon black, which is the generic name for the finely divided carbon particles produced by the incomplete burning of a mineral oil based hydrocarbon. Carbon black increases the strength of the disc and renders it opaque. Polystyrene is often used for 7" records

Some records are pressed on colored vinyl or with paper pictures embedded in them known as "picture discs". These discs can become collectors' items in some cases. Certain 45-rpm RCA, RCA Victor or RCA Red Seal used red translucent vinyl for extra "Red Seal" effect. During the 1980s there was a trend for releasing singles on colored vinyl sometimes with large inserts that could be used as posters. This trend has been revived recently and has succeeded in keeping 7" singles a viable format.

The sound quality and durability of vinyl records is highly dependent on the quality of the vinyl. During the early 1970s, as a cost-cutting move towards, use of lightweight, flexible vinyl pressings, much of the industry adopted a technique of reducing the thickness and quality of vinyl used in mass-market manufacturing, marketed by RCA Victor as the "Dynaflex" (125 g) process, considered inferior by most record collectors.

New "virgin" or "heavy" (180-220 g) vinyl is commonly used for modern "audiophile" vinyl releases in all generes. Many collectors prefer to have 180 gram vinyl albums, and they have been reported to have a better sound than normal vinyl. These albums tend to withstand the deformation caused by normal play better than regular vinyl. 180 gram vinyl is more expensive to produce and requires higher-quality manufacturing processes than regular vinyl.

Since most vinyl records are made from recycled plastics, impurities can be accumulated in the record, causing a brand new album to have audio artifacts like clicks and pops. Virgin vinyl however, means that the album is not made from recycled plastics, and will theoretically
be devoid of these impurities. In practice, this depends on the manufacturer's quality control.

Vinyl Records Down Side...
A Side B Side ....Down Side??

Vinyl records do not break easily, but the soft material is easily scratched and vinyl readily acquires a static charge, attracting dust that is difficult to remove completely.

Dust and scratches cause audio clicks and pops. In extreme cases, they can cause the needle to skip over a series of grooves, or worse yet, cause the needle to skip backwards, creating a "locked groove" that repeats the same 1.8 seconds of track over and over. Locked grooves were not uncommon and were even heard occasionally in broadcasts.

Vinyl records can be warped by heat, improper storage, or manufacturing defects such as excessively tight plastic shrink-wrap on the album cover. A small degree of warp was common, and allowing for it was part of the art of turntable and tonearm design. A once per revolution pitch variation could result from a warp, or from a spindle hole that was not precisely centered.

Vinyl records will degrade chemically when exposed to ultraviolet light or to heat. Humidity does not affect the PVC itself, but will affect the packaging it is stored in. PVC is also resistant to fungal growth.

A.K.A. -- Phonograph Records -- Record Albums - LP's Terms and Aliases of the Vinyl Record Album

The flat recorded disc has gone through many changes over time and generations and as a result has been referred to by several aliases. The terms LP and EP are acronyms for Long Play and Extended Play where 33's, 45's and 78's these designations refer to the records rotational speeds in revolutions per minute. Along with different rotational speeds records were made in different sizes 7" 10" 12". Typically a 7" record would be a 45 rpm speed, a 10" would be either 33 or 78 rpm and a 12" would be 33 rpm. Of coarse there are exceptions to every rule. Records have been made of polyvinyl chloride (PVC) since about 1949, and as such may be referred to as a "vinyl records" or just simply "vinyl". The term "record album" originally referred to a set of 10" 78's coupled together and housed in a "photo album" style booklet, usually containing art work on the front side and on the reverse, information about the recordings, the result a nickname the "phonograph record album" or "record album" which has stuck. In fact for decades many people referred to them as "records" These are the more popular aliases for the "vinyl records", there are certainly hundreds more terms that hipsters and disc jocks alike have used over the life and time of the phonograph record.

While most vinyl records are pressed from metal discs known as 'stampers',
the original disc is lathe cut. The lathe cuts the long spiral microgroove into a aluminum disc which has been coated with a soft lacquer. This lacquer disc is then electroplated with nickel to form a negative known as a 'master' disc, which has a protrusion rather than a groove. The lacquer disc is destroyed when the nickel impression is separated.

This master disc is then electroplated with nickel to form a a positive disc known as a 'mother'. Many mothers can be grown from a single master before the master deteriorates beyond use. In their own turn the mothers are nickel plated to produce more negative discs known as 'stampers'. Again a single mother can grow many stampers before they deteriorate beyond use. It is these stampers that are then used to mold the final vinyl discs. In this way several million vinyl discs can be produced from a single lacquer original. For production of discs where a relatively small quantity is required, the first nickel negative grown from the lacquer original is used directly as a stamper. Production by this latter process known as the 'half process' is limited to a few hundred vinyl discs.

VINYL RECORD CARE and MAINTENANCE

FOR YOUR LISTENING PLEASURE....,

Cleanliness is an absolute to achieve the best sound quality of your vinyl records. A clean vinyl record will not only sound better, but last longer. It has long been proven that the playing of dirty records will result in a rapid deterioration of quality and degradation of the original recorded sound, or simply can cause permanent damage to your phonograph records. The preservation of your valuable or irreplaceable vinyl records requires special care and cleaning. Not to mention that, stylus wear is greatly accelerated by playing dirty records, and as you know with the cost of new cartridges these days, playing dirty records can lead to a significant and unneeded expense.

Phonograph Records or "Vinyl Records" are delicate, and very susceptible to damage and wear. Therefore a few techniques should be used when it comes to handling, cleaning and storage of your valued recordings.

HANDLE WITH CARE

When handling your vinyl records avoid touching the playing or grooved surface. You should handle the record by either edge and the labeled surface only. First remove your vinyl record from the jacket with the inner dust sleeve by bowing the jacket open while holding it against your body and applying a slight pressure with a hand. Pull the record out by holding a corner of the inner dust sleeve. Avoid pressing down onto the disc with the fingers as any dust caught between the sleeve and the disc will be pressed into the grooves.

Remove your vinyl record from the inner dust sleeve by bowing the dust sleeve and letting it slip gradually into an open hand so that the edge falls on the inside of the thumb knuckle. The middle finger should reach for the center label. Never reach into the sleeve.

To hold a record, place the thumb on the edge of the disc, and the rest of the fingers of the same hand on the center label for balance. Use both hands on the edge to place record on turntable.

Do not use paper or cardboard inner sleeves and do not store records without inner sleeves. Use soft polyethylene inner sleeves. Do not use record sleeves made of PVC.

MY VINYL RECORDS LOOK CLEAN, What Is Foreign Matter??

First we have to think "Micro" level as not all of your records enemies can be seen by the naked eye. One can classify foreign matter as deposits which are not part of the original record, such as body oils from fingerprints, smoke, stains, stearic acids, dust etc.

Dust is commonly a mixture flakes of human skin, minute particles of mineral or plant material, textile fibers, smoke, fingerprint oils and other organic and inorganic materials. There are often salts such as sodium chloride from fingerprints, and skin fragments and gritty silica crystals. Within this chemical mixture are the spore of countless molds, fungi and micro-organisms which live on the organic material in the dust (fingerprints make for a good culture). Mold loves vinyl, not vinyl per se' but what is in the grooves. The paper dust and such that settles in the grooves, combined with the occasional wet cleaning, the dark confines of an album sleeve coupled with moderate temperature, all are extremely conductive to forming your own mold colonies. Much of this dirt is "hygroscopic" (water-attracting) and this tendency can encourage molds, as well as increases the corrosiveness of salts.

Dust is an abrasive and combined with the pressure exerted on the groove walls by the stylus, can permanently etch the walls and worse the dust can be embedded permanently into thermoplastic substances. Only a small point of the stylus is actually making contact with the groove walls, one and a half grams of stylus pressure on such a minute surface translates to several tons of pressure per square inch. The resulting drag generates enough heat that the plastic partially melts, though not enough to deform the vinyl but cause a microscopic flow around the stylus into which dust can be embedded permanently.

Stearic acids have always been a part of the making of vinyl in one form or another. After a record is pressed there will be thin film of these acids on the surface of the vinyl. The stearic acids found in vinyl formulation has a two-fold effect in the vinyl production process, they act as a record mould release agent but there primary purpose is to act as a buffer for the vinyl stamping process.

DID YOU KNOW VINYL RECORDS CARRY A POSITIVE CHARGE??

Vinyl records are Positively Charged with Static Electricity. This positive charge attracts dust and grime to the groove, resulting in clicks cracks and unwanted surface noise and also accelerated the deterioration of the stylus. Since dust is usually held in place by electrostatic attraction, dry wiping on its own does not effectively work. The added friction created by the duster will cause the dust to jump back to the charged surface.

VINYL RECORD CLEANING FLUIDS

Alright, most will agree that these foreign substances should be removed from our record to achieve ultimate playback and to preserve the life of the "vinyl" itself, but the debate rages on as to how best to accomplish this goal. If you ask 10 different record collectors about the best way to clean a record, you are a likely to receive ten wildly different answers from the alchemist approach to Ivory Liquid Soap in the kitchen sink.

Distilled water is the base for all vinyl record cleaning fluids and for many reasons. First being, its precise chemical make-up is known, distilled water will not leave any residue behind, it is safe to use and inexpensive. Water disperses static charges and counteracts the increased conductivity from the pick-up of salt deposits from finger prints.

However water alone can not dissolve grease and oils, thus surfactants are used as additives to enable water to be grease solvent. Surfactants break grease surface bonds and allow water to penetrate these grease solids, causing swelling and the random dispersion. .

Nonionic surfactants such as Tergitol, Tergitol 15-S-3 is an oil soluble surfactant and 15-S-9 is a water soluble surfactant. Combined they remove a wide range of dirt and greases and can safely be used on sound recordings. Use 0.25 part of Tergitol 15-S-3 and 0.25 parts of Tergitol 15-S-9 per 100 parts of distilled water. The recording must then be rinsed thoroughly with distilled water to eliminate any trace of detergent residue.

Your vinyl records are best cleaned using a record cleaning machine such as the Keith Monks, VPI, Nitty Gritty using 0.25 part of Tergitol 15-S-3 and 0.25 parts of Tergitol 15-S-9 per 100 parts of distilled water. These machines allow for an even dispersion of fluid and can then vacuum the liquid leaving a clean, dry surface. The discs must then be rinsed thoroughly with distilled water and vacuumed dry - never ever play a wet record.


PROPER STORAGE OF YOUR VINYL RECORDS

For long life and playability, proper storage of your recordings is paramount. Some of the factors to consider for the proper storage of discs are temperature and humidity, dirt and dust, improper stacking, excessive pressure and weight, and mechanical or chemical damage.

With respect to the environment, though not always practical, a constant temperature of 65-70 degrees Fahrenheit or 21 degrees Celsius should be maintained. Plus a relative humidity of 45-50% is highly recommended. Avoid rapid changes in temperature and humidity, it could have a adverse effect on the life expectancy of your recordings.

Special attention should be placed on sunlight and on sources of heat such as heaters, vents, and artificial lighting. Also beware of high humidity and water. This will cause mold to grow on the album jackets, and within the inner sleeves causing unrepairable damage.

Avoid dusty environments. Whenever possible, enclose your recordings in a relatively airtight container such as a cabinet with doors, or sealable boxes. Don't be afraid to lightly vacuum the area surrounding your records.

NEVER...NEVER...NEVER...

Store your vinyl records on their sides or flat! Always maintain records in an absolutely vertical position. Remove the original manufacturers shrink-wrap from records. These wraps will continue to shrink over time, eventually warping the jacket and it's contents. Replace this "shrink wrap" with high density polyethylene, or "acid free" sleeves. Additionally, you should also replace regular paper or "acid bearing" inner sleeves, with Mylar or Polyethylene sleeves or also available are rice paper inner sleeves from Japan, though these type of sleeves are a little expensive.

Regular paper inner sleeves will scratch the surface of your recordings with every pass. Certain plastic lined sleeves will create a chemical reaction with the record, while in storage.

Replace dirty and moldy record jackets and inner sleeves to avoid further damage to the discs. Do not store, in or around smoky or cooking areas. Smoke and cooking greases easily adhere to records and their jackets.

Vinyl Record Grading
Standard Goldmine Grading System

The following is the grading system first developed by Goldmine Records. Virtually all methods currently in use for the grading of records, is based in some way, shape, or form, on this system. Rather than offer some variation of the original system first developed by Goldmine, Fox Music Company will display the Goldmine record grading method in it's entirety.

First under a strong light look at everything about your record. It's playing surface, it's label, the spindle hole, it's edges.... Then based on your overall impression give it a grade based on the following criteria --

Mint (M)

Absolutely perfect in every way.
Certainly has never been played, or possibly even still sealed.
This grade should be used very sparingly.., If at all.

Near Mint (NM or M-)

This is the highest price listed in all "Goldmine Price Guides".
Anything that exceeds this grade, in the opinion of both buyer and seller, if it is worth significantly more than the highest Goldmine book value. A nearly perfect record. Many dealers won't give a grade higher than this implying that no record is ever truly perfect. The record should show no obvious signs of wear. A 45 rpm or EP sleeve should have no more than the most minor defects, such as almost invisible ring wear or other signs of slight handling. The album cover or jacket should have no creases, folds, seam splits or other noticeable similar defects, no writing, or stickers alike, and no cut-out holes et.al, either..., and of course, the same should be true of any other inserts, such as posters, lyric sleeves, fan club info and the like. Basically, an LP in near mint condition should look as if you just got it home new from a record store and removed the shrink wrap.

Very Good Plus (VG+)

Generally worth 50 percent of the Near Mint value.
A Very Good Plus record will show some signs that it has been played and otherwise handled by a previous owner who took good care of it. The record surfaces may show some signs of wear and may have slight scuffs or very light scratches that don't affect one's listening experiences. Slight warps that do not affect the sound are "OK". The label may have some ring wear or discoloration, but it should be barely noticeable. The center hole or spindle hole, will not have been misshapen by repeated play or show spindle marks on the label. The Picture sleeves and LP inner sleeves will have some slight wear, lightly turned up corners, or a slight seam split. An LP cover may have slight signs of wear also and may be marred by a cut-out hole, indentation or corner indicating it was taken out of print and sold at a discount. In general, if not for a couple things wrong with it, this would be Near Mint. All but the most mint-crazy collectors will find a Very Good Plus record highly acceptable.

Very Good (VG)

Generally worth 25 percent of Near Mint value.
Many of the defects found in a VG+ record will be more pronounced in a VG disc. Surface noise will be evident upon playing, especially in soft passages and during a song's intro and fade, but will not overpower the music otherwise. Groove wear will start to be noticeable, as with light scratches (deep enough to feel with a fingernail) that will affect the sound. Labels may be marred by writing, or have tape or stickers or their residue attached. The same will be true of picture sleeves or LP covers. However, it will not have all of these problems at the same time, only two or three of them. Goldmine price guides with more than one price will list Very Good as the lowest price.

Good (G), Good Plus (G+)

Generally worth 10-15 percent of the Near Mint value.
Good does not mean Bad! A record in Good or Good Plus condition can be put onto a turntable and will play through without skipping. But it will have significant surface noise and scratches and visible groove wear on a styrene record, the groove will be starting to turn white. A cover or sleeve will have seam splits, especially at the bottom or on the spine. Tape, writing, ring wear or other defects will start to overwhelm the object. It is a common item, you'll probably find another copy in better shape eventually. Pass it up.... But, if it's something you have been seeking for years, and the price is right, get it...but keep looking to upgrade.

Poor (P), Fair (F)
Generally worth 0-5 percent of the Near Mint price.
The record is cracked, badly warped, and won't play through without skipping or repeating. The picture sleeve is water damaged, split on all three seams and heavily marred by wear and writing. The LP cover barely keeps the LP inside it. Inner sleeves are fully seam split, crinkled, and written upon. Except for impossibly rare records otherwise unattainable, records in this condition should be bought or sold for no more than a few cents each.