I get the feeling Nick from Brooklyn is becoming an irresistible force. Here he is, back again with a new Tales of the Hunt guest column. I’m calling this one “Beware a Woman Scored.”
Still More Tales of The Hunt by Nick From Brooklyn
This is going to be a quick story. I wanted to get it to Al before I forgot it. I used to advertise all over New York City, I had cards made up, I used to stick flyers all over, did a lot of newspaper ads, etc. Because you never know who is going to call you and with what. One day, I think it is around 1995 or so, I am in my house doing some research. The phone rings. I answer it. On the other end is a woman and she is screaming YOU WANT JAZZ RECORDS WELL COME AND GET THEM and hangs up. I laugh to myself because over the years not every call or deal is a winner and a lot of people like to play games and in reality many people really do not know what jazz is. Around an hour later the phone rings again, it’s the same woman and she is still screaming and yelling (some voice) WELL WHERE ARE YOU. I try to talk to her, but she hangs up again. I go out for around two hours, when I get home my wife tells me a woman called and she gave me the number. I ask her was she screaming and yelling, she says no, she was pretty nice. I call the woman, she answers and she is very calm, and tells me she was sorry about the last two calls. I tell her don’t worry about it. And then I ask her what do you have?
Nick has been posting a bunch of long anecdotes on various comments under the moniker “Tales of the Hunt” so I suggested he send them to me first and I would post them as guest columns. I’ll see about pulling them together in one spot for those interested. In the meantime here’s this one, which I think of as “Guys and Dolls and Records.”
More Tales of The Hunt, by Nick from Brooklyn
One thing good about trading records with another collector who does not collect the same music as you do, both of you should feel like winners in the end. I spoke about Joe Rocco before who was a big Doo Wop collector and was part owner of Strider Records in Greenwich Village. Before he opened Strider Records, Joe worked for The House of Oldies also in the Village. And I did a lot of trading when I found Doo Wops with him there and in his home. One day Joe calls me – I think it was in the early 1980s – and asks, do I want to look at a collection with him in Queens. We drive out to Atlantic Avenue and I believe around Sutphin Boulevard very early in the morning. We meet this guy who has just purchased a building off of HUD for $5,000. As we approach the building it is a two-story building and it looks as if it was there for over 100 years, and this guy is talking a mile a minute and I’m trying to keep up with him. As he starts rolling up the gate my eyes start to blink. Here is this storefront with a huge neon sign in green – RECORDS – to the right of the door. Above that is another sign with an arrow pointing up that says “Dolls Repaired.” In the left side window is another smaller neon side that says Records.
We seem to be inspiring our readers these days. We have Nick’s Tales of the Hunt in some of the comments, and now Dan Forté, who wrote a guest column last week on Ed Beach, is back with a new column on buying records in New York when vinyl was king. This one brings back a lot of nice memories for me. Here’s Dan:
All Sales Are Vinyl – On the Hunt for Jazz LPs During the 1970s in NYC, by Dan Forté
Before the invention of the CD player in 1982 and prior to the major jazz record labels beginning their exhaustive reissue programs in earnest, there was little else one could do but search the dusty bins of the friendly, neighborhood record stores for those coveted out-of-print jazz LPs to add to their collection. For jazz vinyl lovers in New York City on the prowl for “cut-outs” of out-of-print (hereafter referred to simply as OOP) releases during the early 1970s (way before Fred Cohen’s Jazz Record Center and eBay), there was a wide range of record emporiums sure to strike a responsive chord in the memory banks of those old enough – and fortunate enough – to remember them. Here are a few:
A relatively new Jazz Collector reader, Dan Forté, has asked if he could write a guest column in tribute to the late Ed Beach, so here’s Dan. The accompanying picture of Ed Beach is courtesy of Marc and Evelyn Bernheim/Rapho Guillumette
A Tribute to Ed Beach, or How I Got Hooked into Jazz and Vinyl Collecting, By Dan Forté
Time: Mid-Late 1960s, Weeknights, live from 6-8 pm
Place: The Big Apple/ WRVR, 106.7 on the FM Dial
Cue-Up Opening Theme Music: Wes Montgomery’s “So Do It” from his Oct. 12, 1960 Riverside LP Movin’ Along, RLP 342; 9342 Stereo
About 30 seconds into the theme, the imposing voice of our subject lets us know we’re listening to “Just Jazz, Ed Beach with you, for the first part of a two part feature on….”
And, like magic, we knew we were in capable, swinging hands and all was well with the jazz world. Unlike some other long-winded jazz jocks who liked to impress their listeners with their knowledge of jazz minutiae and didn’t know when to shut up and just play the music, Ed always knew it wasn’t about him. Rather, it was ALWAYS about the music.
Ed Beach passed away quietly on Christmas Day 2009 in Eugene, Ore. just three weeks shy of what would have been his 87th birthday. If you dug jazz and lived in New York City from 1961-1976, you were blessed to hear “Uncle Ed” and his Just Jazz program on radio station WRVR, call letters standing for Riverside Radio, as in the Riverside Church, with studios located in upper Manhattan at 85 Claremont Avenue.
Ed was trained as an actor and he also had an encyclopedic knowledge of jazz. Every time you listened to his meticulously researched show, you knew you were in for a treat. For every live, two-hour program that Ed produced,
Mike Falcon has promised a review of the new Fred Cohen book, and here it is:
Blue Note Records A Guide to Indentifying Original Pressings
A Review By Mike Falcon
For as long as I have been collecting Blue Notes there has been a large chorus asking for a complete guide to navigate the complexities of what constitutes a first pressing. And now they have it. Frederick Cohen has given us “Blue Note Records, A Guide to Identifying Original Pressings” an authoritative manual on the Blue Note discography. This includes the EPs, 10” LPs, and all of the pre-Liberty LPs in both Mono and Stereo.
I first went to the Jazz Record Center in 2002. I had never seen a record store like it. Everywhere I looked was something interesting and new to me. I spent a long while thumbing through records looking at the photos and memorabilia on the wall, and thinking that if I ever win the Lotto I’ll be back here first. I’ve never won the lotto but I’ve been back a few times, always with less money than I would have liked. I had spoken to Fred a few times and was always impressed by how informative he was. I would think, “This guy should write a book”. Well he has.
“Blue Note Records, A Guide to Identifying Original Pressings” is a nicely bound 6 ½” x 9 ½” inch black book with the Blue Train label with red arrows pointing to the various identifying features on the cover. It’s written more like a compendium or research paper and is not in the narrative form. It starts with an introduction, preface, and acknowledgements, before getting to the list of illustrations and glossary. The glossary and illustrations are necessary to understand what you are reading when sorting through the pressing guide. The illustrations show what is meant by all of the famous Blue Note esotery. This includes examples of the famous
Mattyman has promised us a guest column about collecting Blue Note jazz CDs and here it is:
Collecting Blue Note Albums on Compact Disc
Guest Column by Mattyman, The Netherlands
First of all a big thanks to Al for giving me the opportunity to tell y’all something about collecting Blue Note releases on CD, which I’ve been avidly doing since the early nineties. Since I couldn’t think of a ‘logical line’ in my column, I decided to randomly describe a few of the things that I pay attention to before I buy a CD and to make things more clear, I have once again created a photo page that y’all can use while you read the story. The few photos that I included in this story are only meant to literally jazz up the look of the column. I will continuously refer to that photo page as well, so maybe the best way to do this is to open the page in a new window.
Here we go, folks!
The first jazz album that I ever bought was John Coltrane – Blue Train, in 1992. There was a reason why I bought it. My favorite Dutch writer (and known jazz collector, drummer and DJ), Jules Deelder, has written many long and short stories about his deep love for jazz, how he first heard it as a little boy and how mesmerized he was by the voice and trumpet playing of, as he’d find out later, Chet Baker. His endless hunts for vinyl are the most fun to read, since I had been digging like that myself for seventies funk. I wanted to know more about jazz, ’cause if Jules Deelder dug so frantically, it had to be good. I honestly had not listened to one jazz album in my entire life before 1992. So I went to my favorite record store and grabbed Blue Train, simply because
In a comment last week one of our loyal readers asked if he could write a guest column about his experiences buying vinyl in Japan. So without further ado, we offer:
Record Shopping in Japan
By Mike Falcon
For most of my adult life I have been very interested in Japanese culture. I love their movies, art, food, culture, and overall aesthetics. I studied Japanese while in college as my obligatory foreign language and have traveled there a few times. Something I have found very interesting about Japan is how they appreciate American and Western culture. Japan is very different from America or Europe but as a society they have a very deep appreciation for key things from these cultures. It was so amazing to me to eat various Western foods in Japan and find that the Japanese do Italian, French, Brazilian, and Spanish food more authentically than is available in the U.S. I ate in a small Italian restaurant where the chef took pride in his Italian food on a level I think could only be found in Italy itself. For me the Japanese appreciation of Western culture is most evident in three of “my favorite things:” Jazz, vinyl and baseball. I will save you from my interesting and wonderful experiences with Japanese baseball and other observations because this in an article about vinyl hunting.
The Japanese, relative to the U.S., have a lot of record and CD stores. I don’t believe they have suffered the same setbacks as the American record industries have, as the music store business seems much healthier. In Tokyo you can find corporate-owned music and DVD stores eight stories tall that would take a day or more to explore. These places were interesting but I found the small record stores
Here’s a guest column from Ceedee, a regular commenter here at Jazz Collector, based on the item I wrote yesterday about the Cannonball Adderley/Bill Evans LP Know What I Mean? on Riverside.
“Greetings! The Cannonball/Evans LP is a favorite of mine, just beautiful. Thought you would like this review I wrote some time back for a Martin Logan owner Website under my other alter ego, Miles Ahead. – ceedee
The month of February, 1961 was a busy one for Bill Evans. It saw him finish a recording session with his critically acclaimed trio – that with Scott LaFaro and Paul Motian – which was issued as Explorations (Feb. 2)), bolster a date rightfully called a classic by any measure, Oliver Nelson’s Blues And The Abstract Truth (Feb. 23) and also find the time to accompany his old bandmate from the Miles Davis Sextet, Cannonball Adderley. Cut on Feb.21, this was one of three sessions that would eventually yield Know What I Mean? for Riverside. It does not match up to the other dates mentioned (how many records could?), but proves itself worthy of a listen and not just for the Bill Evans fan (not that there’s anything wrong with that!)
Cannonball and Bill were ‘simpatico’ while with Miles — the seminal Kind Of Blue was not yet two years behind them – and their musical bond continues here. Evans’ Waltz For Debby leads off the date, an interesting choice. Nearly six months before
A couple of weeks ago friend of Jazz Collector Erich Schultz asked why we never wrote about collecting jazz 45s here at Jazz Collector. We said that we didn’t collect them ourselves, we didn’t know of any collectors and no one had ever even asked. We also invited him to write a post on the joys of collecting jazz 45s and, voila, here it is. Erich, it’s all yours:
Collecting Jazz 45 RPM Records, by Erich Schultz
Although I have a large library of jazz 10” and 12” 33 RPM records, I also have over 1,000 jazz 45 RPM records as well. I starting collecting these 45’s about five years ago, and I have picked up most of them in the Los Angeles area when I visit my two children (I live in the San Francisco Bay Area.) I also get them sometimes through bulk sales on ebay. My reasons for collecting them include: Read more
The other day we mentioned the idea of posting guides to record stores in various cities to help traveling jazz collectors all over the world. Our first response is from Maarten Kools with this guide to shopping for jazz vinyl in Amsterdam and nearby environs. Enjoy.