Portait In Jazz Prices

When I’m not posting frequently enough I can always count on our friend CeeDee to gently prod me with a list of auctions he’s been tracking. Now I know how infrequently I’ve been posting, since the latest missive from CeeDee is replete with TEN listings, so let’s look at some of the highlights, starting with Bill Evans, Portrait in Jazz, Riverside 315. This record sold for $767, and CeeDee expresses surprise that a later pressing would attract such a high price. I agree, but I can’t determine from the listing that this is, in fact, a later pressing. The seller describes it as an original U.S. pressing, with an M- record and Ex cover. It isn’t fully clear to me what the pictures entail, since the first picture is described as a stock photo “for illustration purposes only.” Anyway, I’m probably being obtuse today so if anyone (CeeDee?) can clear things up, I would greatly appreciate it.

Seems like any Blue Note is now a collectible, including Stanley Turrentine, Rough ‘N Tumble, Blue Note 4240. This has the New York USA label and it is a mono pressing, so it is an original. Even so, I’ve never really considered this record to be a collectible, and I guess CeeDee didn’t either. That will have to change, now that this copy, in M- condition for the record and VG++ for the cover, has sold for $232.50.

The Turrentine was from the Jazz Record Center, as was this: Grachan Moncur III, Some Other Stuff, Blue Note 84177. This was an original New York USA Stereo pressing, that looked to be in M- condition for the record and VG++ for the cover. This one sold for $364.99.

One more from the CeeDee files: Kenny Burrell, Prestige 7088. This was an original New York yellow label in just VG+ condition for the record and the cover. I say “just VG+ condition” because the final price seems not to take the condition into consideration, that being $930, which is a lot for this record under any condition.

 

35 comments

  • A 1st pressing of Portrait in Jazz should have small blue labels, deep groove and no INC on labels.

  • I just finally took the plunge and tried out one of the later Turrentine records from the Liberty years. Oh my god, it was a waste of seven bucks, original or not. I hate it so much I am thinking of selling it, which I never do with originals in good shape.

  • Yeah, that Portrait is not DG — first giveaway, among others. Crazy price for a mid-60s pressing. I’ve never found Stanley Turrentine that appealing as a leader, even in the Blue Note years, but maybe I’m being obtuse?

  • Gregory – which one is it? Might be interested.

  • The Bill Evan’s label should be DG and have RLP 12-315 not RM 12-315 on the label.

  • I think my NY USA mono ‘Rough ‘N Tumble’ cost about 10 pounds !

  • Portrait in Jazz is clearly second. It looks a treat and I’m sure sounds pristine, but that price is high even for a true first pressing.

  • Those young newcomer collectors are exactly that their elders (me, for instance) : more money than brain. Live and learn..

  • Careful, Michel. I am a relative newcomer.

    Richard – “Always Something There”. It is in decent condition. I will give it a thorough play grade if you’d like.

  • Would the original stereo version of this lp be the one with the black label?

  • Jim Sangrey always talked that one up on the organissimo board but I could never pull the trigger… not even for $7.

  • Ha, I’ve been collecting for 20 years and still feel like a newcomer!

  • Gregory – Aah, a strings album, in which case I’ll pass. Thanks for the info though.

  • @gregory the fish : it was just a joke ? !

  • $767.00 for a later pressing of Portrait in Jazz? Crazy. I put a few bids in on Ebay lately but have been outbid by newcomers with just a few feedbacks. Most likely people aren’t doing any research before bidding.

  • That Turrentine is more Easy listening than a string album. Kind of fun if you like that kind of music.

  • richard & cliff: i don’t blame you.

    michel, i was joking too. i suppose it is hard to tell. darn internet.

  • I’ve been collecting for about 40 years now, and I’m still amazed at all the records from the 1950’s I have never seen before. It seems like it is never ending, which is fine by me.

    Secondly, I have Stan “The Man” Turrentine on Time records. You would think with a supporting cast of Max Roach, George Duvivier, Tommy Flanagan, and the great Sonny Clark, it would be a pretty good record. Well, you would be wrong, it’s music to remove your fingernails by.

  • Well if all you guys are willing to do is buy and list Turrentine’s late 1960s and early 70s 5 dollar lps of course you’re going to be disappointed. Just as most of you would with a copy of Donald Byrd’s ‘Places and Spaces’, Miles’ ‘TuTu’ or almost all of Herbie Hancock’s post 1970 material. Turrentine has a solid string of stone cold hard bop and soul jazz lps: ‘Lookout!’ ‘Up at Minton’s’ ‘Dearly Beloved’, ‘Blue Hour’, ‘Hustlin’ etc on Blue Note alone! They’re all worth a listen. His side apperances on Arthur Taylor’s, Duke Jordan’s, and some of Jimmy Smith’s Blue Note LPs are very very good too. We forget how many amazing jazz musicians DIDN’T die in the 60s, sometimes they made music that was ‘commercially viable’ to make a living or they played so much bop/soul/free/avant garde in the past that they simply moved on to the next subgenre.

  • yeah, that Time record sucks. Yeesh.

  • “Blue Hour” is a pretty good record to sip wine/scotch to.

  • Places and Spaces not for jazz purists but I love that record.

  • Yikes did I miss something? I enjoy the Stanley Turrentine album on Time….

  • Sorry Mark, I have to be about 8 beers in before I am going to enjoy that record. (To be honest, I do have a couple of Turrentine albums I like, I just don’t like this one).

  • ” Don´t mess with Mr. T ” on CTI… what a record… of course underrated

  • It’s okay Mark, I enjoy some dubious LPs too… 😉

  • we all have our taboo tastes. you’ve all seen arguments started by some of mine. i just meant that i do not like that later turrentine sugary schlock. it’s okay if others do.

  • I am reaching out to the true jazz vinyl/audiophile veterans here in response to the Bill Evans. If I bought a VG++ first pressing of a great Riverside lp… then I bought a VG++ 2nd pressing of the same great Riverside lp: 1) Played on a high-end system, what differences between the two would I expect to hear? 2) Extrapolate Q #1 to a Blue Note or Prestige. 3) Extrapolate to a mono vs stereo version of the same first press; what differences do you expect to hear on that quality system? Thanks!

  • I’m surprised you guys don’t dig Turrentine more. The Mosaic/Blue Hour stuff is great. I’m into small groups and arranging so I really dig anything he did with an ensemble, especially if Duke Pearson did the charts. And the CTI stuff, while commercial, is impeccably made and played.

    Don’t sleep on Mr. T!

  • Turrentine IMO is a natural rhythm and blues player. Some of his work on Blue Note can sound a bit wooden, or contrived, but in the “rock fusion” setting of CTI he consistently sounds more fluid.

  • Hi all, I’m sorry but I get quite annoyed when some of you throw dirt att Turrentine. He was a fine player for sure. I think it is better to hold off very disregarding comments. We cannot all like the same artists/LPs but condescending posts does not really help our jazz community. Jazz lovers are a rare breed and I would rather support jazz and jazz artists with positive praise or comments than putting off particular artists and recordings. There are things that are considered hip that I find quite unlistenable, but I try not no give negative comments about them. Why should I? I might even like the music in the future.

  • Stanley T was a fantastic, individual player. Period. Very distinctive. The dates with Horace Parlan! and his own Look Out! & Jubilee Shout were top draw IMHO. Even some of the later Liberty BNs. Check ‘Meat Wave’ on LP ‘Easy Walker’ hard swinging, driving ‘sou’l Jazz at it’s best with great Tyner solo. The CTI stuff is good too, a highlight for me was the Gilberto LP. As previously stated, he contributed well to the scene and had a relatively long career and a bloody sucessful one at that. Yes he made some very dubious LPs, but thats all part of the long career. Labels and A&R men also have a lot to do with direction, material and overall sound….. HEY!, Don’t Mess with Mr T.

  • I have worn out a couple of copies of Sugar on CTI , some great grooves , also Another Story on Blue Note with Thad Jones has some extra magic. …and don’t forget the Front Room recordings
    with Shirley Scott on Impulse ,some serious wailing here. I agree , Don’t mess with Mr T

  • man, some people just can’t handle dissension in the ranks, can they? it’s okay if we don’t like the same things, ya’ll.

  • nothing to do with dissension , all to do with a love of music and sharing with like minded
    music fans those recordings that stimulate that passion.

Leave a Reply

Your email address will not be published. Required fields are marked *