Here’s an interesting opportunity: An auction house in the U.K. is auctioning a private jazz collection on Tuesday June 27 and there are options for individuals to bid live, either online or by telephone. The auction house is Omega Auctions and music is one of the areas in which they specialize. The collection belonged to a collector named B.W. Duncan and, of you are interested, you can read his bio here. As for the records themselves: There are quite a large number of Blue Notes, offered as individual pieces, such as Eric Dolphy Out To Lunch or Herbie Hancock My Point of View. There are also Blue Note packages sold in lots, such as an Art Blakey lot or a Horace Silver/Lee Morgan lot. Many of the records in the collection are U.K. pressings. It looks like there are 260 lots in all. It’s worth taking a look at the auction, but make sure to read the instructions if you want to bid because you have to set things up in advance and you have to pay some fairly hefty fees. Read more
Regular contributor Daryl Parks posed an interesting question about auctions versus buy-it-now listings on eBay. From the beginning here at Jazz Collector we have focused on auctions. Not sure why, but that was how I always did business on eBay, when I did do business on eBay, both as a buyer and as a seller. Daryl was helping a friend with some listings of jazz records, and the friend preferred buy-it-now, particularly for what he described as “big ticket” items, in this case original Blue Note pressings from Curtis Fuller and Jutta Hipp. His explanation, as explained by Daryl: “Buy-it-now attracts different types of buyers who prefer to avoid roller-coasters and unpredictability while resulting in predictable outcomes for the seller; he has always had great success with this approach.” Read more
An Interview with John Scheinfeld, Writer and Director of Chasing Trane, The New John Coltrane Documentary
Some of you may recall that I had a bad reaction to the election in November and had a bit of a breakdown, totally justified as subsequent events would have it. One thing that helped me through the worst of it was going to the Doc NYC festival and seeing a new John Coltrane documentary called “Chasing Trane.” It was a beautiful and inspirational film that helped me heal and even sent me on a more spiritual path, which surprised the hell out of me. Here’s the original essay I posted on Nov. 25: “Chasing Trane: A Review, An Appreciation, A Spiritual Awakening.”
The essay found its way to the writer and director of “Chasing Trane,” John Scheinfeld, who sent me a lovely follow-up note telling me that he had shared the piece with many people, including Bill Clinton. He even used the word: “Bravo.” I was quite thrilled. Now “Chasing Trane” is set to make it’s theatrical release: It opens this Friday at the IFC Center in New York and the following week in Los Angeles, followed by a broader release across the country. I can’t wait to see it again and I’m strongly encouraging all of you to see it as soon as you get the chance.
In anticipation of the rollout, the film’s publicists reached out to see if I would be interested in doing an interview with Scheinfeld. Of course. So we did call a couple of weeks ago. It was supposed to be 20 minutes but it lasted 40. Scheinfeld was eloquent and passionate and it was exciting for me to learn about the creative process that went into making this wonderful tribute to one of my heroes. A summary of our conversation follows. All direct quotes are Scheinfeld’s. Read more
Clifford had mentioned this in a comment on one of the posts from earlier this week: Barney Wilen Quintet, Guilde Du Jazz J-1239. This is an original pressing that looks to be in VG++ condition for both the record and the cover. The bidding is close to $400 with two days left, but it has not yet reached the seller’s reserve price. We’ve seen some very high prices for this record in the past, including one that approached $3,000, although that seemed to be an aberration. Still, we expect to see a fairly high price tag on this one, given the condition. If you miss out on that one there’s another original copy of the same record closing a couple of days later. This one isn’t quite in the same condition. The record is graded Ex and the cover is VG. The start price is about $700 and so far there are no bidders.
What was I thinking when I traded away a copy of the following record more than 30 years ago?
Number One: I had cousins visiting from England. One of them had never been to New York before. He’s a musician and wanted to see some music. It was a Monday night. Go to just about any city, and seeing good jazz on a Monday night would be a difficult proposition. But this was New York. There were many choices, but for me there was only one: The Vanguard, of course, with the Vanguard Jazz Orchestra, which is still the Thad Jones – Mel Lewis Orchestra to me. I hadn’t been to the Vanguard on a Monday night in probably 10 years, which is kind of ridiculous when you think about it since it is only a 20-minute subway ride away from my apartment. Anyway, I went online for reservations and it was sold out. Same thing when I called. We went anyway, arriving early. And we got in. The band was in fine form. They had just finished doing their annual weekly gig at the Vanguard, and seemed particularly tight. The band’s personnel has evolved over the years, but there were definitely a lot of familiar faces, including the tenor player Ralph LaLama, from whom I once took about four lessons 30 years ago. Somehow, I didn’t think he’d remember me, at least not fondly, so I didn’t actually say hello. But I thoroughly enjoyed the evening and would highly recommend a visit to the Vanguard, particularly on a Monday night, to anyone visiting New York. But, if you can, make reservations early. It seems to be a destination for jazz lovers from all around the world.
The other day I was listening to Giant Steps, yet again, and this time I pulled out the album and re-read the liner notes. I was amazed at the prescience and knowledge of the writer. Here are the first two paragraphs:
“Along with sonny Rollins, John Coltrane has become the most influential and controversial tenor saxophonist inn modern jazz. He is becoming, in fact, more controversial and possibly more influential than Rollins. While it’s true that to musicians especially, Coltrane’s fiercely adventurous harmonic imagination is the most absorbing aspect of his developing style, the more basic point is that for many non-musician listeners, Coltrane at his best has an unusually striking emotional impact. There is such intensity in his playing that the string of adjectives employed by French Critic Gerard Bremond in a Jazz-Hot article on Coltrane seemed hardly at all exaggerated. Bremond called his playing ‘exuberant, furious, impassioned, thundering.’
“There is also, however, an extraordinary amount of sentimentality in Coltrane’s work. Part of the fury in much of his playing is the fury of the search, the obsession Coltrane has to play all he can hear or would like to hear — often all at once — and yet at the same time make his music, as he puts it, ‘more presentable.’ He said recently, ‘I’m worried that sometimes what I’m doing sounds like just academic exercises and I’m trying more and more to make it sound prettier.’ It seems to me he already succeeds often in accomplishing both his aims, as sections of this album demonstrate.”
I looked down at the bottom to see which Jazz journalist had written this piece back in 1959 and, to no surprise at all, it was the great Nat Hentoff. When I woke up this morning, there was news in The New York Times that Nat Hentoff had died at age 91.
By Al Perlman
Editor and Publisher, Jazz Collector
So last night I was in bed with The Lovely Mrs. JC and as is our usual custom we were listening to a random playlist of ballads as we went to sleep. The shuffle landed on Stan Getz playing “Body and Soul.” We were listening and it was just sheer beauty and at the end of the second verse Getz goes into this run that is absolute genius, and I don’t use that term loosely, but, with Getz, I know that it applies. I don’t have the language, either in words or music, to describe what it is that Getz does, but, to me, I think of a figure skater taking off in full flight, doing three turns and three axels with pure grace and beauty and then landing on her feet as if it were all perfectly natural. You can listen to it here and perhaps you will hear what I heard.
I listened to this passage and I started laughing because I hadn’t heard it in a long time and I was flabbergasted and in awe at what just came out of the speaker.
The Lovely Mrs. JC rose from a slumber and asked: “What’s wrong?”
“Nothing,” I replied.
“Why were you laughing?”
“Did you hear that?” I replied.
“That,” I said. “That thing Getz just played. It was unbelievable.” Read more
To my regular Jazz Collector readers, I promise I will be back with a normal post on Tuesday. In the meantime, I ask for one final indulgence for this one final post so I can close the book on this Chasing Trane diversion.
First of all, I would like to let you all know that I am doing well. Since the election I have not turned on the television news or read any news or opinions in any periodical — print or online. It has been a blessing. My head is not clogged with useless information, my guts are not wrenched with fear, my vision is not clouded with images of people who spew hatred, vitriol and divisiveness.
Even better, I have begun to channel the spiritual awareness that the Coltrane documentary helped to inspire. I am walking down the street with a new energy that seems to be apparent because people are smiling at me and talking to me as never before. I am chatting with people in the elevator. I’ve reached out to friends that I have been estranged from for years. Plus, with my head cleared, I’ve had a burst of creative energy. The previous post on Chasing Trane is just one example. I am also doing great work for my clients and I am doing more writing on the side.
It is the day after Thanksgiving here in the States and one of the things I am grateful for is the new John Coltrane documentary Chasing Trane, written and directed by John Scheinfeld. I was fortunate to see this film on the closing night of DOC NYC, the New York documentary film festival. It was a week ago last Thursday and it has had a deep emotional impact on me that is still resonating, which I will discuss in a bit. But first let me tell you about the film.
First off, Scheinfeld is a terrific documentary filmmaker, IMHO. I am a huge fan of two of his earlier movies, The U.S. vs. John Lennon and Who is Harry Nilsson . . .? I knew virtually nothing about Nilsson when I watched that film and I’ve since recommended it to all of my friends and family, and now to all of my readers here at Jazz Collector. Perhaps because of Scheinfeld’s reputation, the Coltrane family welcomed him to do this film and gave him access to Coltrane’s music, archives and even home movies.
In Chasing Trane, Scheinfeld has created a moving and inspirational tribute to one of the great musicians and spiritual influences of our times. He uses film footage and photos of Coltrane, some never before seen, interspersed with comments from a wide range of friends, family, fans, biographers and other admirers. I was personally moved by the comments from Coltrane contemporaries and close friends, Jimmy Heath, Benny Golson and, especially, Sonny Rollins. And I was surprised and impressed by the depth of knowledge and connection to Coltrane’s music and spirit expressed by former President Bill Clinton. But I was not surprised by how often some of these commentators were at a loss for words to describe Coltrane’s music or his influence because, as Sonny says, the only way to truly understand and feel the music is Read more
The other night I was listening to Karrin Allyson, Ballads: Remembering John Coltrane. This was a 2002 Concord Jazz release that celebrated the great John Coltrane Ballads album on Impulse. I love the Allyson version, particularly since I really had never heard the lyrics to a couple of these songs, including Say It (Over and Over Again) and Too Young to Go Steady. Allyson uses three horn players on this record, Bob Berg, Steve Wilson and James Carter, and they each approach the Coltrane material in a very personal way. Her vocal interpretations are absolutely terrific. This is a great album and I recommend it highly. Which brings me to the point of this post. I’ve always been focused on vinyl and I never really took to CDs. I managed to buy a lot of CDs in the day, because they were convenient and I could put six into one of those Sony multi-players or into my car stereo and I wouldn’t have to get up off the sofa or fiddle around with the radio dial in the car. But whenever I wanted to really listen to music, it would always be vinyl.