And The Bidding Is . . . . WHAT?
OK, I could use a good explanation for this one: Paul Chambers, A Jazz Delegation From the East, Score 4033. This is a reissue of the album originally released on Jazz West. The record is in G condition, described by the seller as “rough.” The cover is in VG- condition, with tape and wear clearly visible in the picture. Not necessarily a record to display proudly on your shelves and, in this condition, probably not one to place on your turntable either. Someone wants it, pretty badly, though. There are 11 bids, three bidders and the price is already more than $100. Because . . ?
From the same seller is this: Kenny Drew, Undercurrent, Blue Note 4059. This is possibly an original pressing with the deep groove on one side, although the seller is only showing one label. Without seeing the other label, I have my doubts. Also, there seems to be an issue with the condition. The seller lists the record as VG and the cover as VG+. However, if you look at the picture of the back cover, it is clearly not close to VG+, with a really bad stain. If that is VG+, you kind of wonder what the VG vinyl looks like. I imagine others have similar concerns. The bidding is at $89 with 12 hours to go. If bidders were confident in the condition and the provenance, the bidding would likely be a lot higher.
I scheduled a snipe for the Kenny Drew earlier this afternoon, but I lost: I just saw it left the building for $275…
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And it has to be an original Undercurrent, since you can clearly see the Plastylite ear in the dead wax in the label close up.
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And one more thought: has Undercurrent ever been reissued in the Liberty and UA era? I mean, whenever you search for it on eBay, you always find Japanese pressings…
I managed to snipe a couple auctions from this seller today. If the vinyl grading works out, I should have done well.
I did notice that many of the Impulse auctions were for 2nd printings (ABC’s) but were going for much more than usual, some nearing original prices. Hopefully the buyers did their homework.
In any case, it was quite the feeding frenzy.
Ugh.
That obliterated copy of “Three Trombones” is going there too.
I think I’m missing something. How can can a record be graded good that’s in rough shape? I’m thinking about, snap, crackle and pop throughout and the stylus possibly getting stuck in spots. Talk about an oxymoron: Shouldn’t there be a grade of poor? And because…Well, why the Dutch tulip mania, the Florida land bubble of the 1920s and the recent housing bubble? These irrational collective emotions have no explanation.
my chambers music is a European press, mint cond.- yet exteremly fragile vinyl, i dont know what its made of, but it is like glass, prob. the most fragile lp in my collection. one of the best 5-dollar lps ive ever got
Seth – Blame Goldmine, good = http://www.goldminemag.com/collector-resources/record-grading-101/2
Makes me think all those beat up records I left in the thrift store bins was a mistake, looks like there is a market for unplayable garbage, who knew?
And one more thing about the Paul Chambers, given Al’s previous post about the same album: what would be the difference apart from the fact that we’re talking two different labels? And the colours of the front cover differ considerably as well.
Sorry, never mind my question. I didn’t read very well, my bad. The Jazz West is the original pressing and the Score release is a reissue. Mea maxima culpa 😉
The music happenes to be nice early Trane. He doesn’t quite have that piercing tone yet. But it was good enough for saxophonist Steve Grossman to hide under his coat and steal from my friend’s basement in’71!
Al, the reason could be called shill bidding. It’s not too hard to figure out that some sellers that u kick and a lot of others (a LOT) use this highly illegal method that is so hard to trace/prove, especially now that eBad has hidden bidders user names to the public. Doesn’t THAT POLICY right there help promote the act? And what are you gonna do – take nothing to the authorities? And WHO ARE THE AUTHORITIES? lol! Ebay doesn’t do anything. The local police? They would just laugh! Do they get paid on commission? LOL! Seems like it. Anyway, I bring this topic up occasionally on this blog but no one seems to reply or tell their stories. Turning of the head. It’s there people!
On a different note –
Why do people bid on such obfuscated crap:
http://www.ebay.com/itm/SAM-RIVERS-FUCHSIA-SWING-SONG-ULTRA-RARE-ORIG-64-BLUE-NOTE-STEREO-LP-NY-RVG-/350850157216?pt=Music_on_Vinyl&hash=item51b04c8aa0&nma=true&si=%252BeN5lmz2aQVCxPYDyP2bdbRJmbo%253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557
ORIGINAL – No! There is no ear! VG+(+)cover? NO – not with 2 seam splits! It doesn’t even appear nice to look at. A STEREO press no less! $25 tops for a stereo lp w/ no ear and in that condition (seller says VG+ but his VG++ cover is VG-) PEOPLE WHO BUY JAZZ LPS- – Don’t be stupid. Sellers aren’t going to make it easy for you! Eventually it’s up to you to put in that final price when you bid but use some sense! Even if money is no object. $93 for that? C’mon! I picked up a Mono “ear” press of this title with a dg to one side in very nice true + condition for $75.00 w/ a decent VG to VG+ cover. You just need to learn to wait people.
Back to the subject … I’ve never seen the Jazz West press of the Chambers and I have a VG- Score press. It works for the $6.00 I paid and not the $100.00+. I listen to it every now and then. It’s a fine session but I don’t know if I would go the extra $75-100 bucks for the original. It’s not in the league of say NEWK’S TIME on BN !!!!!!!!! I would go $40-50 for one perhaps but I stay careful these days because of the practices mentioned above. Others should heed the knowledge as well or at least wake up and see it. Ever wonder why jazz prices keep goin up and up and up? ‘Cause sellers are smarter smarter smarter!!!!!!!!
For those who like Coltrane, the Mosaic Sunship Box Set has the best sound quality I’ve ever heard on any of his recordings. No, he is not piercing. I realize now, that the piercing sound was the way his previous records were engineered. Is it possible that Van Gelder went too far with the mid range to make Coltrane stand out? Perhaps the recording equipment in the 60s was limited? Who am I to judge? Van Gelder was a brilliant jazz engineer and aficionado. Without him, we might not have jazz as we know it.
But the sound on this box set is remarkably balanced. Every instrument can be heard clearly. (Assuming one has a good audio system.)
I subsequently found out that this pressing was engineered by one of the finest talents in the world. My son knows of all the major audio engineers. As soon as he saw that Kevin Gray was the sound engineer, he said I’d be in for a pleasant surprise. He was right.
The set contains some conversations, as it shows the evolution of the Sunship album in the studio. But I welcome it. I never realized how difficult it is to get a good take. Some of what I thought was fine, the original engineer didn’t. Yes, I do wish there was more music. But only because it’s so good. When Coltrane’s group is in their groove, it’s truly a Dionysian frenzy. One can see that Van Gelder knew exactly when they were there. That became the take. The set ends with someone saying, “Thank you.” Well, I say in response, “No, thank you!”