If yesterday was a Prestige day, let’s make today a Blue Noter, starting with Here Comes Louis Smith, Blue Note 1584. This looks to be an original West 63rd Street pressing listed in VG++ condition for the record and VG+ for the cover. The bidding is in the $175 range with about four days to go. We were watching a different copy of the same record a few days ago and that one was in just VG condition for the record and VG+ for the cover. It wound up selling for $561, so I would expect this one to fetch a higher price. Will it enter the $1,000 bin? Could be. According to Popsike, the highest recorded price for this record is $1,514. Not owning an original copy of this record myself, I haven’t listened to it in a long time. When I put a record on the turntable, I usually prefer an original pressing. But perhaps I will make an exception. After all, the personnel includes one of my all-time favorite alto players, none other than the infamous “Buckshot La Funke.”
Let’s start the day with a couple of 10-inch LPs we are watching on eBay: Gigi Gryce and his Orchestra with Clifford Brown, Jazz Time Paris, French Vogue LD 173. This is the original French pressing, issued before the Blue Note version in the U.S. The record and cover are both listed in VG++ condition. This one has just been posted on eBay and closes in seven days. There are already 15 bids and the price is in the $115 range. Here’s the question: Would you rather own the French pressing or the Blue Note? I know, most of us would say “both” but that is not an option. I have to admit, I’d go for the Blue Note. I can’t say why, other than I always have a big smile on my face when I go through my 10-inch records and come across an original Blue Note in beautiful condition. The Vogues, of which I have a few, don’t have nearly the same effect.
This thing with the Sonny Rollins Bridge is actually picking up a lot of momentum. I am back in Manhattan and I went into my elevator today where there is a television that is always tuned to a local news station and the next thing I know there’s a black and white clip of Sonny as part of a very lengthy feature story about the campaign to rename the Williamsburg Bridge in his honor. Then I got back upstairs and did a Google search and three days ago there was an article in Slate advocating “Why the Williamsburg Bridge Should be Renamed After Sonny Rollins.” I must admit, when I first wrote about this back in June (“The Sonny Rollins Bridge: Why Didn’t We Think of That?”) I thought this was really a pipe dream and not a potential reality. Now, I’ve come full circle into believing that this can actually happen. Hats off to Jeff Caltabiano for coming up with an inspired idea and actually pursuing it. I will reach out to Jeff this week and find out what we can do to help.
Thanks to Daryl and to all the thoughtful, and not so thoughtful (just kidding), commenters on the previous post. Given how sporadically I’ve been posting lately, it’s nice to get some other voices involved. I do have a full complement of jazz records in my eBay watch list, so I will share some of the more interesting items, starting with Lee Morgan, Volume 3, Blue Note 1557. This was an original West 63rd New York 23 pressing that was listed in M- condition for the record and perhaps just a shade below M- for the cover. There were 21 bidders and 37 bids and a final price of $3,629 that jumped from $2,000 in the final seconds. This is not the highest price we’ve seen for this record, according to Popsike, which recorded a copy selling for $4,177 last year. Still, it’s way up there. Brings to mind a note I received from one of our readers last week, linking to a recent article about million-dollar comic books and wondering why, jokingly, the recent Lee Morgan documentary didn’t have a similar impact. Well, we’re not yet in the millions, but our jazz records are definitely on the rise. Plus, we get to listen to what we collect, not just look at it, although looking at it is cool too, as was well discussed in the prior post.
Today we have a guest column by one of our loyal readers. I’ve been corresponding with Daryl Parks periodically for years and am pleased that we are finally able to provide him with a forum for his ideas. This one, we hope, should provoke some thoughts and discussion
By Daryl Parks
Discogs currently features an original Blue Note, first press, mono, deep groove copy of the Art Blakey A Night at Birdland Vol2 (VG+/VG+) for $500. Discogs also offers a (NM) 1985 Direct Metal Master, (DMM) French, “Cadre Rouge Audiophile” version, on scrawny vinyl, of the LP for $20 + postage. I own the original Blue Note (VG++) and the DMM re-issue (NM). Prepare for heresy: I prefer the sound of the inexpensive, DMM, anorexic-vinyl re-issue. I’m not sure how to make sense of that. Read more
Since I was away for so long, I’d like to catch up on some jazz vinyl auctions I missed, starting with a few from our friends at the Jazz Record Center. Let’s start with John Jenkins with Kenny Burrell, Blue Note 1573. This was an original pressing that looked to be in M- pristine condition. The final price was $1,382. This may sound weird, but that price seems a little low to me, considering the condition and the reputation of the seller. Just did a quick check over at Popsike and, indeed, this record has sold for more than $2,000 in the past. I have no theories to offer on this, particularly now that the Jazz Record Center accepts Pay Pal, but the market is the market and it often simple reflects who is bidding against whom at that particular time.
Back online again and tracking some of my favorite jazz records on eBay, starting with Jackie McLean, McLean’s Scene, New Jazz 8212. This is an original deep groove purple label pressing. The record is listed in VG+ or perhaps better condition and the cover is VG++. The start price is about $200 and so far there are no bidders with more than five days left. This one will get action, right?
Miles Davis, Kind of Blue, Columbia 1355. This is an original white label promotional copy. The record is listed in M- condition and the cover is Ex or Ex+ condition. There are more than four days left on the auction and the bidding is in the $170 range, with 13 bids. Curious to see where this ends up. We were watching a promo Kind of Blue a few weeks ago that had a $600 start price and no bidders — but it also had some condition questions. We have seen promo copies sell for as much as $2,700 in the past, but this one will not get to that level.
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.
Back on eBay again after yet another unexpected absence, which are becoming all to frequent, unfortunately. Anyway, here’s some of the jazz vinyl we’re watching, starting with a pair of Byrds: Donald Byrd, Byrd in Paris, Brunswick, 87 903. This is an original French pressing listed in VG+ condition for the record and VG+ for the cover. Actually, the seller lists the record in VG++ for the record, but states that the audio quality is just VG+ with some background noise. Somehow, for me as a collector, I’d prefer that the record sound good as opposed to look good. Anyway, this one has a start bid of $349 and a buy-it-now price of $500, which is the top price we’ve seen for this particular pressing on Popsike. I don’t own this particular record, but I have a beautiful pressing of the other Byrd in Paris Brunswick record, the one with the picture of Byrd on the cover eating French Fries. That one has already broken the $1,100 bin. Not sure if it’s the music that is more enticing, or the cover.
The other Byrd is Byrd’s Eye View, Transition 4. The record looks to be in VG++ condition, based on the seller’s description, and the cover looks to be about VG+. There is also the booklet, which is described as being in “perfect” condition. Bidding is in the $525 range and, by the time most of you read this, the auction will probably be closed. This one is a regular visitor to the $1,000 bin, so I certainly won’t be surprised if this copy ends up there as well, considering the condition.
Thanks to all for keeping the site current during my unexpected and prolonged absence. More than 60 comments and counting on the last item is quite impressive. I will try not to do that too often, but I was able to get a much-needed break from life and work and spend some time with The Lovely Mrs. JC in beautiful Provincetown, Ma., where we got to sit on the beach, view the eclipse, eat lobster and marvel at the beautiful sunsets and scenery. Now that I am back I feel compelled to at least catch up on some of the ongoing conversations and items I was watching before I left.
Let’s start with the riff on listening or not listening to our records. I don’t begrudge anybody their preferences on how to collection. As far as I’m concerned, it’s your money, your time, your enjoyment. Do whatever you want. As for me, I find that, in reality, my approach is somewhat mixed. I have no problem at all putting any of my records on my turntable and, in fact, take tremendous pleasure in listening to the real rarities in their original form and format. Just the other day I put on my beautiful mint original pressing of Saxophone Colossus, poured a glass of Porter and listened from beginning to end. Sheer ecstasy. And a few days before that, I took my portable Califone record player out to the porch here in The Berkshires and brought out a bunch of original 78s — Fats Waller, Louis Jordan, Charlie Parker, Billie Holiday and Lester Young. Again, sheer ecstasy.