I have many hundreds of records I’m hoping to sell and on rare occasions someone may come to the house to peruse them. I don’t necessarily encourage this, but if I know you from Jazz Collector I’m generally OK with it. Anyway, the other night I had one of our readers come over and it turns out he was an alto player who was associated with the Lenny Tristano school and had played with Sal Mosca, Lee Konitz, Warne Marsh, Billy Bauer and others. He went through the records I was selling and didn’t find anything he liked and asked if I had an 78s I’d be willing to sell. I do have more than 1,000 78s and I have been willing to pare this down and among the more than 1,000 78s I happen to have about 100 Prestiges in mint, unplayed condition. I purchased these Prestiges on
Tags: Lee Konitz
This one goes into the $1,000 bin: Lou Donaldson, Quartet, Quintet, Sextet, Blue Note 1537. This was an original Lexington Avenue pressing that was in M- condition all the way around. A real beauty. It sold for $1,880.55.
Lee Morgan, City Lights, Blue Note 1575. This was an original pressing. The vinyl was listed as VG++ and the cover was listed as VG+. The price was $850 and it had nearly 200 page views, which means a lot of people were at least considering a bid. I know I was.
Paul Chambers, Bass on Top, Blue Note 1569. This was also an original pressing, although the listing was a little weird, advertising it as Bone and Bari, the Curtis Fuller LP. Nonetheless, whatever record this turns out to be it was listed in VG++ condition and it sold for $790.
Apr 28, 2010 Jazz Vinyl
Generally I prefer mono pressings of my records, if they are available. I tend to like the sound better and, to me, they are more authentic. There are exceptions, though, and I discovered one the other day. When I was in Academy LPs last week in Manhattan I noticed a copy of this LP: La Vern Baker Sings Bessie Smith, Atlantic 1281. This is a great LP, if you are not familiar with it, featuring a swinging jazz band including Paul Quinichette, Buck Blayton, Sahib Shihab, Vic Dickenson and others. Anyway, I knew that my copy at home was a stereo pressing and the one in the store was a mono pressing with the black label, an original copy, and the price was fair, $20 if I recall. So I purchased it thinking I would upgrade the copy in my collection. I got home, cleaned the black-label copy, put it on the turntable and felt there was something missing. So I took out the stereo copy and it sounded better: Fuller, clearer and crisper. I am not an audiophile and I
The Lawrence Marable Quintet, Tenorman, Jazz West 8. The vinyl on this was listed as VG++ and the cover was listed as excellent, which I generally take to mean either VG+ or VG++ depending upon the seller and the description. For this item, I would think VG++ would be appropriate based on my grading terminology. This copy sold for $2,024.99. I admit: I don’t own a copy of this LP. Generally the LPs that have the high price tags are not just rare, but the music is good as well. Anyone want to share a review/opinion on this LP?
Also entering the $2,000 club, again, was this:
Apr 23, 2010 Prestige
Tommy Flanagan Overseas, Prestige 7134. This is an original pressing. The vinyl is listed in M- and the cover looks to be VG++. I went years and years without ever seeing a copy of this record, always to hear about it in legend as one of the rarest of the rare. It’s funny, isn’t it, how there seems to be a nice copy of this record on eBay every couple of weeks? I think it’s a function of eBay and potential sellers realizing that can get top dollar for the record, so they look to flip it. I don’t have an original copy in my collection, but I’ve survived this long without it, so I think I’ll be OK. This one is more than $1,300 and it still has not reached the seller’s reserve price.
Hank Mobley, Mobley’s Second Message, Prestige 7082. This is an original pressing and it looks to be in VG++ condition for both the record and the cover. This is being offered by Academy LPs in New York. It’ s funny, I went into their
Apr 22, 2010 Guest Columns
A ‘Blues Walk’ in NYC…
“Lou Donaldson at the Vanguard on Tuesday April 6th, 2010 was one of the best sets I’ve seen there in a while and well worth the long drive down to NYC from Ottawa. The first set began with Lou’s theme song Blues Walk and escalated through a series of standards and into Alligator Boogaloo from there. He was accompanied by Randy Johnston on guitar, Pat Bianchi on the organ, and Fukushi Tainaka on the drums… It didn’t stop there, Dr. Lonnie Smith dropped in to pay his respects for the second set, along with a quick cameo by Roy Hargrove, and a few vocals by singer Champion Fulton. Definitely worth the trip. Although Lonnie seems to think I owed him money from the last time he was in Canada. Don’t ask me why !
As for the rest of the trip, I did manage to drop in on Rudy Van Gelder at his fabled studio in Englewood Cliffs, N.J., on the way out Wednesday morning. That’s the studio in the picture above. Rudy wanted
I wound up taking a six-week hiatus from selling records on eBay after my mom passed away, but I am back now and have been busy posting records by the armful the past couple of weeks. Some of the items are records I’ve written about on Jazz Collector, so we can see whether my investments were wise or not so wise. Here are a few:
Stan Levey, This Time the Drum’s on Me, Bethlehem 37. This is a record that features some very rare Dexter Gordon from the 1950s. It’s amazing to think how infrequently Dexter was recorded during this period, when you would have expected him to be quite prolific. Anyway, I bought this record in a batch of other records and wrote about it under the title: Taking a Chance on Junk Vinyl. It was among a group of 25 records and the whole batch cost me $30. This is already at $40 on eBay and should sell for a bit more than that.
Red Garland with John Coltrane, High Pressure, Prestige 7209. This was one of the ones I purchased in the
Apr 19, 2010 $1000 Records
I know this is going to give some of you a heart attack: That sealed copy of Giant Steps of unknown provenance sold for $2,025.55. What happens with something like that? Does the buyer even open it? If he does, what if it’s just a standard red and green label? What happens? I think it’s amazing that this seller is able to get these prices for some of his offerings. But I do wonder if there’s an alternate reality going on that we’re not aware of, like whether there is one set of buyers that are completely rapt by his marketing wizardry and only bid on his stuff and are not bidding on any other records. Here are a couple of other auctions we were watching from him: Louis Armstrong at the Crescendo Volume 2, Decca 8169. This is a pretty routine record that you could probably find pretty regularly for $10 or $20 at a weekend record show. This one sold for $103.50. How about: Billie Holiday, Lady in Satin, Columbia 8048? This was a 6-eye stereo pressing. Nothing special, right? This one sold for $157.55. As I was copying the picture of Giant Steps, I took another look at the listing. Someone asked about the label and this was the seller’s reply:
Apr 19, 2010 Guest Columns
When we started Jazz Collector we invited members of the community to contribute to the site and, if you check out the About page, we apparently still do. To date, no one has really taken us up on the offer and all of the posts have been written by yours truly, which has been fine. The other day, however, we got a note from one of our readers asking if he could post an item and, of course, the answer was yes. So here it is:
“Greetings-my name is Ceedee and I’m a jazz collector. I’ve been using this music and the never-ending search for the next ‘must-have’ as a source of pure pleasure and inspiration for nearly 40 years now. And if the latest list of items I’m watching at eBay is any indication, it’s a search that’s not about to end any time soon. It’s the access to collections and collectors worldwide that eBay has made possible – not to mention great web sites such as Jazz Collector – which go a long way towards enabling this ‘healthy’ habit.
Before the 12-step analogy goes any further, let me assure you that for me, it has been necessary
The seller Jazzhound, who is apparently local to me but whom I don’t know, has been selling some nice items on eBay, including: Lee Morgan, The Cooker, Blue Note 1578. This was an original pressing and the vinyl was in M- condition and the cover was VG++ and the price was only $565.33. Did I say only $565.33? Yes I did. It just seems that this record should be selling for more money, even though this is the highest price we’ve ever recorded for the Jazz Collector Price Guide. The same seller has a few more nice rarities selling this week, including: Webster Young, For Lady, Prestige 7106. This is an original pressing with the New York label and it is a fine album, indeed. This copy is in M- condition for both the vinyl and the cover and it is currently at around $500. And this is one that features a cover design by Andy Warhol:
Was watching this later pressing to see if it would sell: John Jenkins with Kenny Burrell, Blue Note 1573. This was a United Artists pressing. The vinyl was in M- condition, but the cover had a corner clip. The starting price was $44.44 and there were no bidders. Not sure where the market is for these United Artists pressings. I do have a bunch of them and I’m planning to hold onto them. They sound fine, not like the original pressings, but not like the reprocessed stereo editions either.
Here’s an interesting one from our “friend” Bobdjukic: Don Byas, Tenor Sax Solos, Atlantic 11233. This is a 10-inch LP with an interesting cover. The listing notes that it is an uncredited David Stone Martin illustration and, I have to admit, it looks like one for sure. But when this seller says something is “absolutely certain” I tend to wonder. In this case, I think he’s accurate, but it would nice to get confirmation from one of the experts out there as well. The rest of the hyperbole in the listing is a true work of art. Here is some of the language: “One of the rarest jazz albums in existence,” plus “We are reasonably certain that less than four copies
Apr 15, 2010 Jazz Clips
“Billy Bauer told me he was in the Royal Roost in the early 50′s and Stan on a break returned to the bandstand and without accompaniment daven’d Little Girl Blue and when he was done there wasn’t a dry eye in the club.This ’56 live Basin Street Cafe rendition (Shelly Manne, Oscar Pettiford, Dick Katz) evokes a bit of that beauty- if you wanna post.”
A few words of explanation. Dan uses the word “daven’d.” This would be something of a Jewish colloquialism, although I’ve never heard anyone else use it precisely in this context. I think it generally means prayed, but in this case
We’ve been watching a seller this week with some sealed records on the Savoy label. These are a risk, since you can’t tell if the pressing is an original with the red label and the deep groove or perhaps a later pressing with the maroon label. The difference in value between these two pressings could be several hundred dollars — or perhaps even more, depending upon the record. While I’m a risk-taker, some of these got a little too high for my comfort level. Here are a couple:
Introducing Lee Morgan with the Hank Mobley Quintet, Savoy 12091. We’ve seen original copies of this record in nice condition selling for more than $500 in the Jazz Collector Price Guide, so a new, unplayed original would be worth quite a bit. But is this an original? Only the buyer will know if, indeed, the buyer ever opens it. In this case the buyer is spending $161.50 to find out.
This one was also tempting:
Now we get to the batch of records that turned out to be the most pleasant surprise of all. There was at one point a group listed as such: Bill Evans, Seven Riverside LPs. There was a picture on the Web site and there was a copy of Waltz for Debby in there and perhaps an original pressing of New Jazz Conceptions as well. Anyway, I was hoping to steal this one, but once the bidding surpassed $400 I realized there was no steal to be had and I had better keep my mouth shut. The package eventually went for $650. Ah, well. However, about 15 minutes later there was another group of LPs, described as such: Bill Evans, Eleven LPs, Eight Verve and Three Riverside. There was no picture or other description. I won this lot at $80, so my total for these 11 records was $93.60. This is a great batch of music, and each record is in
All right, let’s do some more of this Jazz Auction stuff. So, by this point in the auction I have purchased eight lots and I am clearly on a roll and forgetting about the 17 percent surcharge and figuring, “What the heck, I’m already paying for shipping, let’s buy some more records.” And so I did.
Gerry Mulligan, Seven LPs. Price: $46.80. Why? There is no good answer to this question. I certainly have all of these LPs, and probably don’t even want to keep all of these LPs, and there is probably not that much of a market for these LPs on eBay. The best of the records, from a collectible standpoint, is The Gerry Mulligan Songbook on World Pacific. There’s also a nice Mulligan on Emarcy with Zoot Sims. There’s a copy of Mulligan and Stan Getz on Verve, but it’s an MGM pressing. Really, there was no rhyme or reason to bidding on these — and actually winning — other than the adrenaline rush of buying more records.
Sonny Rollins, Three RCA Victor LPs and Lester Young For LPs. Price: $93.60. This fits into
OK. The auction records are here, in a newly created bin on the floor of my music room/office. It’s fun looking through the records, of course, encountering pleasant surprises, but what I am most looking forward to is listening to them. That’s the best thing about getting new records, or even getting new copies of old records: Exploring and discovering (or rediscovering) the music. As I type this I’m listening to Wes Montgomery Full House and it’s probably the first time I’ve listened to this LP in 10 years or more. With 10,000 records a lot of great LPs wind up sitting on the shelf. I remember the first time I heard this record. I was in a car with my friend Dan and we had the radio on and we heard a Wes solo and we knew immediately it was Wes and then the tenor player starting playing and we were both blown away because he was really cooking and we couldn’t figure out who it was. It was, of course, Johnny Griffin. And now I am listening to this beautiful near mint copy of this record again and, ah, what a nice way to start a gorgeous Sunday morning. Anyway, back to the auction items:
The next one I purchased was listed as: Stan Getz, Three Verve LPS with Trumpeter labels. Price $40.95. These turned out to be For Musicians Only with Dizzy Gillespie and Sonny Stitt;
Guess what came in the mail yesterday? Remember that Jazz Auction in which I participated a few weeks ago. Well the records are here and now I can tell you how I did. Remember, I bid blind on these records, based on the written descriptions, and I gambled on quite a few of the packages. I was competing with a bunch of sellers/dealers who were at the scene and had the opportunity to physically view the records. Also, I paid an extra 17 percent above what I bid because that was the fee taken by the auction house. In any case, here are the results, part one of three: Live vicariously through me if you please. The prices listed below include the 17 percent extra fee, so they are the amount I actually paid for each package. Also, the listings as I describe them below are similar to the way they were listed in the auction itself.
Wes Montgomery, Full House. Price: $70.20. This is an original blue-label Riverside
Apr 9, 2010 Blue Note
Ever think about how many jazz records are on eBay at any one time? When I was perusing the list this morning I checked it out: Today there are more than 142,000 jazz records on eBay, just 33 RPM. Of that, there are about 8,000 up for auction. Here are a few of them:
Here’s a record I didn’t know about: Johnny Griffin, Night Lady, Philips 48071. I should be more specific: I was aware of this record as a U.S. Emarcy pressing but, until seeing this listing, I didn’t realize it was originally issued in The Netherlands. This one looks to be in very nice condition and is at about $340 with several hours left to go.
This one will be getting a nice price: Art Farmer, Farmer’s Market, New Jazz 8203. This is an original pressing with the purple label. It looks to be in near mint condition and is already at more than $300 with a few more hours to go.
Here’s one that’s been bid up past $500 but still has not yet reached the seller’s reserve price:
Apr 8, 2010 Blue Note
Here is one of the dilemmas in doing Jazz Collector and being a jazz collector at the same time. In the course of perusing eBay for the site, I sometimes run into records that I may want myself. Do I write about them or do I watch them in silence, place my bid and pray like everyone else? Here’s a case in point: Freddie Redd, Shades of Redd, Blue Note 4045. This seems to be an original pressing and it looks to be in very nice condition, at least VG++ and perhaps even better. The current price is just $70. The only copy I own of this record is a Japanese pressing. Actually, I own two Japanese pressings because it is one of my favorite records. I also own the Mosaic CD, but that is beside the point. The point is I would like to own an original pressing. I mean, that is why we’re here, isn’t it? Anyway, I’m sure this will
Tags: Freddie Redd
We’d been talking a few weeks back about how second presses — and even third presses — are starting to get some traction as collectibles. Or, to put it more aptly, how later presses are starting to sell more often at collectible prices. Here’s one we happened to notice yesterday on eBay: Jackie McLean, 4, 5 & 6, New Jazz 8279. In the listing, the seller lists this as an “original” purple label pressing, which is somewhat accurate, I guess. It is an original version of this pressing, but the issue itself is a reissue of the original Prestige, so it is a bit of a stretch to call this an original pressing. Nonetheless, I’m not sure whether the description has that big an impact on the bidding because you would think the people bidding into three figures on these records would have some knowledge of what they are doing. Except, of course, those
Sonny Clark, Dial S For Sonny, Blue Note 1570. This was the one listed as Sonny Clarke. The record and cover were in VG++ condition and it seemed to be an original pressing. The price was $1,413.
There was also this: Stan Getz Plays, Norgran 1042. This was in M- condition for the vinyl and VG++ for the cover. The seller was Euclid Records. The price was $432. We thought this might be the highest price we’ve ever recorded in the Jazz Collector Price Guide for any Getz record, but, surprise, a copy of this same record in M- condition once sold for more than $700. Still, $432 is a pretty high price for this record. Do you think that our coverage here at Jazz Collector, and the clip we played, had anything to do with the bidding?
This is the highest price we’ve ever recorded for this LP: Jackie McLean, Jackie’s Bag, Blue Note 4051. This one was in M- condition and sold for $702.
This one would have made the $1,000 bin, but it didn’t meet the seller’s reserve price:
This one has been breaking the $1,000 barrier pretty consistently: Louis Smith, Smithville, Blue Note 1594. This copy seemed to be in VG+ condition for the record and VG condition for the vinyl, based on the seller’s description. Still, it sold for $1,148.
Jazz Record Center had a few more in the $2,000 bin, including: Tommy Flanagan Overseas, Prestige 7134. This one was in beautiful M- condition and sold for $2,650.07. One of the nice things Fred often does in the listings is provide little details that help to expand our knowledge of the market. In this case the little tidbit is that there is no address on the cover because Prestige at the time was transitioning from New York to New Jersey.
Speak of the devil, here’s a copy of Stan Getz Plays, Norgran, 1042, on eBay now courtesy of our friends at Euclid Records. The record is listed in M- condition and the cover is VG++ and the words “beautiful” and “gorgeous” are thrown in as well. The price is around $140 and there are still more than two days to go.
Don’t usually expect to see this one at $100 or more, but this copy is there already: Anita O’Day Sings the Most, Verve 8259. This is an original pressing with the trumpeter logo and it is in M- condition.
If someone is doing a search of Sonny Clark, will this record come up:
I was thinking about what Bethellodge stated on the earlier post about Jimmy Raney. I set up some new software yesterday making it easier to record from my turntable into the computer, so I’ve been playing with it and decided to try it out here and provide a service to the community as well. The idea was to post something from the Jimmy Raney Ensemble 10-inch LP, pictured here, and I was recording Stella By Starlight when I realized if Bethellodge and others were not aware of Raney, it would also mean that they were probably not aware of one of my very favorite records in the world, which is Stan Getz Plays, Norgran 1042. Raney is pretty much a supporting player on this LP — I think he has just one solo — but Getz is in absolutely top form on this LP and Getz in top form is as good as anyone who ever held a tenor sax. So, from Stan Getz Plays, here is The Way You Look Tonight, with some supporting guitar work by Jimmy Raney in the ensembles. Enjoy.
Apr 1, 2010 Autographs
We’re doing some housekeeping here at Jazz Collector and in cleaning out email we discovered some interesting items that our friend Don-Lucky sent to us all the way back in December. Don-Lucky drove down from Canada to see Sonny Rollins in Tarrytown and what follows are some souvenirs from his trip, which he graciously shared with us and which we in inadvertently put into a hold file and ignored for lo these many months. This first item is a New York pressing, by the way:
Next up are some photos that are a bit more current: