Kenny Burrell

A Generation Ago Today

1967  ·  Verve Records (MGM) V-8656  ·  Mono  ·  US  ·  LP, gatefold · 33 1/3 RPM

Pressing details

LabelVerve Records (MGM)
Catalogue numberV-8656
Year1967
Mono / StereoMono
CountryUS
FormatLP, gatefold
Speed33 1/3 RPM
GenreJazz - Swing/Mainstream Jazz
ProducerCreed Taylor
MusiciansKenny Burrell (guitar), Ron Carter (bass), Grady Tate (drums), Phil Woods (alto saxophone) - on Poor Butterfly, Stompin' at the Savoy, I Surrender Dear, Rose Room; same quartet plus Mike Mainieri (vibes) on As Long As I Live; Kenny Burrell (guitar), Ron Carter (bass), Grady Tate (drums), Richard Wyands (piano) on Wholly Cats

Matrix / Runout

Side A:  V-8656 MG164 VAN GELDER 11
Side B:  V-8656 MG165 11 VAN GELDER

Condition

Cover
NM-
Vinyl
VG+

Variant chronology

1967 - US Verve V-8656 mono first pressing, grey MGM-era 'dart' label, Van Gelder runouts  <- this copy
1967 - US Verve V-8656 mono promo (NOT FOR SALE) pressing
1967 - US Verve V6-8656 stereo first pressing
1975 - Japan Verve MV 2115 reissue, stereo
1977 - Japan Verve MV 4006 reissue, stereo
1986 - Verve 831 087-2 CD reissue
1990 - Japan Verve POCJ-1948 reissue
1999 - Japan Verve POCJ-2756 remastered reissue
2004 - Japan Verve UCCU-5228 remastered reissue
2006 - Japan Verve UCCU-9228 remastered stereo reissue
2012 - Japan Verve UCCU-6245 remastered reissue
2017 - US Verve B0027401-02 remastered reissue
2021 - Japan Verve UCCU-8062 reissue

This Pressing

1967 US Verve V-8656 mono first pressing - grey MGM-era Verve label, Van Gelder-stamped runouts (VAN GELDER 11).

The Album

Recorded in 1966 for Verve under producer Creed Taylor, A Generation Ago Today finds guitarist Kenny Burrell paying tribute to the swing era, reworking tunes closely associated with Benny Goodman and the Charlie Christian small-group sessions of the late 1930s. Burrell, one of the definitive post-bop jazz guitarists of the era known for his work with Blue Note and his own sideman dates for Miles Davis and John Coltrane, here reaches back to the music that shaped his own playing, framing Christian's pioneering electric-guitar vocabulary within a modern small-group setting. The presence of alto saxophonist Phil Woods lends a bop-inflected voice to swing-era staples like 'Stompin' at the Savoy' and 'Rose Room,' while the closing quartet track 'Wholly Cats' strips the band down for a leaner, more intimate look at the repertoire. The album sits in the middle of Burrell's prolific Verve period, when he moved fluidly between mainstream jazz dates and more commercial crossover sessions, and it stands as one of his more overtly historical, backward-glancing statements. Contemporary and later critical assessment has generally treated it as a solid, respectful genre exercise rather than a landmark, valued chiefly for Burrell's fluent, blues-rooted guitar lines and the quality of his supporting cast. It remains a minor but appealing entry in the guitarist's substantial 1960s discography, of most interest to collectors tracing his stylistic range across the decade.

Tracklist

Side 1

1. As Long As I Live
2. Poor Butterfly
3. Stompin' at the Savoy
4. I Surrender Dear

Side 2

1. Rose Room
2. If I Had You
3. A Smooth One
4. Wholly Cats

The Label

The label is the grey 'boomerang/dart' Verve design used after MGM's ownership of Verve, with rim text reading 'MGM RECORDS - A DIVISION OF METRO-GOLDWYN-MAYER, INC. - MADE IN U.S.A.' The catalogue number is printed as plain 'V-8656 (MG-164/165)' with no '6' prefix, which is Verve's standard mono designation (V6- denotes stereo); this places the copy in the mono run of the 1967 first pressing rather than the stereo V6-8656 edition. This MGM-era grey label with the dart logo dates to Verve's mid-to-late-1960s design window, consistent with the LP's 1967 release, and the plain V- number together with the Van Gelder-stamped runouts supports an original mono first-pressing placement rather than a later reissue.

Fidelity

Both sides were mastered by Rudy Van Gelder, as shown by the 'VAN GELDER' etchings in the runouts, giving a warm, well-balanced cut typical of his Verve-era jazz work for Creed Taylor. This is an original-era US pressing rather than a later reissue, and collectors on the forums generally regard these original Van Gelder-cut Verve LPs as sonically preferable to the later Japanese Polydor/Verve reissues (MV-2115, MV-4006, 20MJ-0091) and to the 1986/2004 digital remasters, which tend to sound brighter and more compressed. Within this title's fidelity hierarchy, this mono first pressing ranks at or near the top, alongside its stereo (V6-8656) sibling, ahead of all Japanese vinyl reissues and CD/digital remasters.

Notes

This is the 1967 US Verve V-8656 mono pressing, distinct from the V6-8656 stereo release. The plain 'V-8656' catalogue number (no '6' prefix) on both labels is Verve's standard mono designation, and the grey MGM/Verve dart-logo label matches the company's mid/late-1960s design window. Both sides carry Van Gelder-stamped runouts (VAN GELDER 11), consistent with an original-era mastering rather than a later reissue.