Thank you for buying this record. What follows is its documentation: the
pressing identified, the matrix / runout transcribed by hand from the dead
wax, and the condition as assessed before it was listed. It is yours to keep
with the record.
— Paul, Vinyl Curator
Charles Lloyd Quartet
Of Course, Of Course
1965 · Columbia CS 9212 · Stereo · US · LP · 33 1/3 RPM
Pressing details
| Label | Columbia |
| Catalogue number | CS 9212 |
| Year | 1965 |
| Mono / Stereo | Stereo |
| Country | US |
| Format | LP |
| Speed | 33 1/3 RPM |
| Genre | Jazz - Post-Bop |
| Producer | George Avakian, John Simon |
| Musicians | Charles Lloyd (tenor sax, flute), Gabor Szabo (guitar), Ron Carter (bass), Tony Williams (drums) |
Matrix / Runout
Side A: XSM111030-2D 1
Side B: XSM111031-1E 1 P
Condition
- Cover
- NM-
- Vinyl
- EX+
Variant chronology
1965 - US Columbia CS 9212, red two-eye 360 Sound stereo label <- this copy
1965 - US Columbia CL 2412, mono, red two-eye 360 Sound label
1965 - US Columbia CL 2412, mono promo, white label
1966 - Canada Columbia CS 9212, stereo
1966 - Canada Columbia CL 2412, mono
1966 - UK CBS SBPG 62347, stereo
1966 - UK CBS BPG 62347, mono
1966 - Japan CBS YS-636-C, mono LP
1967 - US Columbia CS 9212, stereo repress
1967 - US Columbia CL 2412, mono repress
1975 - US Columbia CS 9212, reissue
1981 - US Columbia/CBS PC 36981, reissue, remastered
2007 - US Mosaic Records MCD-1006, reissue, remastered
This Pressing
1965 original stereo pressing - Columbia CS 9212, red "2-eye" 360 Sound label, matrix XSM111030-2D/XSM111031-1E.
The Album
Recorded in 1964-65 for Columbia, "Of Course, Of Course" was Charles Lloyd's second album as leader and his first with the young rhythm section of Ron Carter and Tony Williams, paired here with guitarist Gabor Szabo rather than piano, giving the group an unusually open, exploratory sound. Lloyd, a Memphis-born saxophonist and flutist steeped in blues and gospel who had passed through the Chico Hamilton Quintet and Cannonball Adderley's group, was on the verge of the crossover fame that his next album, "Forest Flower," would bring him at the Monterey Jazz Festival. The absence of a chordal piano and the presence of Szabo's guitar let the quartet move fluidly between hard-bop drive, modal exploration, and lyrical, almost folk-tinged balladry. Original compositions like the title track and "Third Floor Richard" sit alongside standards such as "The Best Thing For You" and "The Things We Did Last Summer," showing Lloyd's range as both composer and interpreter. Carter and Williams, both already key voices in Miles Davis's mid-60s quintet, bring an elastic, conversational rhythmic freedom that anticipates the loosening of hard-bop conventions later in the decade. The record was praised on release for its combination of accessibility and adventurousness, and it is remembered as an important transitional statement bridging Lloyd's Chico Hamilton-era lyricism and the more expansive, spiritually inflected jazz he would pursue through the late 1960s. It remains a favorite among Lloyd collectors for the chemistry between Szabo's guitar textures and the young Carter-Williams rhythm team.
Tracklist
Side 1
1. Of Course, Of Course - C. Lloyd
2. The Song My Lady Sings - C. Lloyd
3. The Best Thing For You - I. Berlin
4. The Things We Did Last Summer - S. Cahn - J. Styne
5. Apex - C. Lloyd
Side 2
1. One For Joan - C. Lloyd
2. Goin' To Memphis - C. Lloyd
3. Voice In The Night - C. Lloyd
4. Third Floor Richard - C. Lloyd
The Label
This copy carries the red Columbia label with the two concentric-ring “eye” logo appearing twice (once each side of the spindle) inside a square, the arced “360 SOUND” STEREO wording around the bottom rim, and “MARCAS REG. PRINTED IN U.S.A.” text - the classic Columbia “2-eye” stereo design used from the mid-1960s. This design followed the earlier 1962-63 “guaranteed high fidelity” black-and-white/color transitional labels and predates the mid-1970s orange labels, placing this pressing squarely in the original 1965 release window. The catalog number CS 9212 (stereo) is stamped in the runout as well as printed on the label and jacket, the mark of a first-issue stereo pressing rather than a later reissue.
Fidelity
This is an original mid-1960s Columbia stereo pressing from four-track masters, mastered in-house at Columbia's own facilities rather than by an outside audiophile house; Columbia's mid-60s cutting and pressing quality is generally solid but not regarded as pinnacle audiophile fare compared to the label's best jazz-era work. Collectors on the forums generally rate the original 2-eye Columbia stereo pressings as the best-sounding version of this title, ahead of the mono CL edition for spatial separation of Szabo's guitar and Lloyd's horn, and well ahead of any later reissue or CD transfer. No dedicated audiophile reissue (Analogue Productions, Mobile Fidelity, etc.) of this title has been issued, so this original stereo pressing sits at the top of the album's practical fidelity hierarchy.
Notes
1965 Columbia CS 9212 stereo - original first-issue pressing. Red “2-eye” 360 Sound Stereo labels carry matching CS 9212 stamped runouts (XSM111030-2D side 1, XSM111031-1E side 2), the mark of an original-era pressing rather than a later orange-label reissue. Side 2 carries a small “P” stamp in the runout, a plant/mastering notation rather than a mono/promo marker, in keeping with routine Columbia pressing practice of the mid-1960s.
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