Guest Column: Ornithology, By Irving Kalus
Jul 27, 2012 Guest Columns, Jazz Memoirs
As promised, here is the paper written by Irving Kalus on Charlie Parker, dated December 22, 1949. I have to really admire that Irving caught on to bebop so quickly and ardently, and he recognized the genius and contribution of Bird. You can see that this paper is written with tremendous passion and feeling and probably some hyperbole that can be easily excused by the exuberance of youth. As Irving’s son Gary told me, Irving was a fan of Benny Goodman . . . well, read it and see. I’ve reprinted the entire paper below and I’m also attaching it as a downloadable PDF (Ornithology). It’s remarkably similar to the article I wrote in 1975, when I was 22 and had the benefit of 20 years of history after Bird had died. You can find my article here: An Old Jazz Collector Tribute to Charlie Parker. Irving was neither a writer nor jazz critic by trade, but he certainly had a gift for both and, from now on, perhaps forever, whenever anyone does a Google search linking on Irving Kalus, the names Charlie Parker and Irving Kalus will be inextricably tied together. It’s a nice thought and a pretty apt tribute, wouldn’t you say?
Tags: Charlie Parker, Irving Kalus
In Memory of a Jazz Collector
Jul 26, 2012 Jazz Memoirs
Irving Kalus
Irving Kalus was 82 years old when he died on December 22, 2011. It was early in the evening and he had just gone to the record store around the corner, Infinity Records, in Massapequa Park on Long Island. He bought a Miles Davis record and was crossing Sunrise Highway when he got hit by a car and was killed instantly. I didn’t know Irving Kalus personally, but I seem to know him quite intimately now, at least in connection with one particularly important area of his life: His love of jazz. It was Irving Kalus’ collection that I purchased a few weeks ago and I would like to share what I have learned about the man and his life-long passion for jazz.
Irving fell in love with jazz when he was a teenager. His son Gary remembers him telling stories about musicians he had met – the time Sarah Vaughan kissed him on the cheek, the times Dizzy Gillespie would talk with him outside a club before or after a gig. Bud Powell once fixed him a drink: “He called it a Joe Louis because he said it will really knock you out,” Gary recalls his father telling him. Irving picked up on bebop quite early and it clearly had a profound influence on his life.
Tags: Charlie Parker, Infinity Records, Irving Kalus, Jazz Collector, Red Carraro
Still More Adventures in Jazz Collecting, Part 6
Jul 25, 2012 Jazz Memoirs
When I left Massapequa on Monday Karen said she wanted to sell the records to me but it was not her decision alone, she would have to consult with her brother. She believed that he would also want to sell the records to me and they’d probably give me the go-ahead on Tuesday. When I didn’t hear from Karen by Tuesday evening I started getting a little nervous: Were they getting cold feet, were they shopping the collection around, was there suddenly going to be a slew of cutthroat record dealers sniping for the records? Just the normal paranoia, right? I wasn’t all that concerned because I believed that no dealer would come close to the offer I made because, well, for me it wasn’t a business decision but an emotional decision. If it was about business, I would have spent more than a half hour with the records in the first place, and I would have at least gone through them all to identify the ones of the most value and to figure out how to get rid of the ones I didn’t want. But I was just improvising and by this point it wasn’t about whether I had made the right decision to buy the records, it was just about closing the deal.
Tags: Clifford Brown, Max Roach
Still More Adventures in Jazz Collecting, Part 5
Jul 24, 2012 Jazz Memoirs, The Great Jazz Vinyl Countdown
Have I ever mentioned that The Lovely Mrs. JC is a psychotherapist by profession? You’d think after 35 years of marriage to a shrink I’d have been somewhat cured of my vinyl obsession by now. Anyway, The Lovely Mrs. JC returned home from her practice that Monday evening and we sat down to have a quiet dinner and chat. We had many things to talk about and the record collection wasn’t foremost on her mind and, in fact, I had made such little light of the prospects for this collection that it seemed to have slipped her mind completely. So I had to bring it up.
“You know I saw that record collection today,” I said, quite casually.
“Oh, yeah,” she said. “Anything of interest?”
“Yes, it was pretty interesting,” I said.
We sat in silence for a few seconds.
“There’s a chance I may be buying it,” I finally said.
She stared at me in stunned disbelief.
“How many?”
I smiled a sheepish smile and held up three fingers.
Her eyes popped out of her head. “Three hundred records! How can you buy three hundred more records!”
Still More Adventures in Jazz Collecting, Part 4
Jul 23, 2012 Jazz Memoirs
So now I had a general sense of the collection but since my original intent was to just look it over and give advice, I had no real sense of whether I would want to buy the collection or even whether they would be interested in selling it to me. So I wasn’t overly excited or enthused as I sat down with Karen and Adam to tell them what I had discovered. I said that it was an amazing collection of music mostly from the bop and post-bop era, that most of the records were reissues or later pressings, but that there were, indeed, some valuable records within the collection. I didn’t say how many valuable records because I had no idea. I then asked Karen if her father had ever talked about the records and what they might be worth and what to do with them after he passed away. She said that she had never really had that discussion with her father, and neither did her brother. She said her father just loved the music and never really considered the records as something of monetary value, just something to treasure and enjoy.
Tags: Marty the dog, Sonny Clark
Still More Adventures in Jazz Collecting, Part 3
Jul 22, 2012 Jazz Memoirs
So I’m sitting on the floor and there’s this two-shelf low cabinet and there’s maybe 300 records in it altogether and I reach for the Coltranes on Impulse and pull them out. They are not obvious originals but each one has a gatefold cover, so there is hope. I open the first one, Ballads. And it is . . . ugh, a very late black label pressing. Then A Love Supreme: late pressing, black and red label. In fact, I go through all of the Coltrane Impulses and there’s not a single original pressing in the bunch. And now I’m fairly convinced that this is just a lovely collection of great music but not one of collectible records. And I am almost ready to give up and give Karen my advice, which is that she should probably go to Infinity Records around the corner and see what they would pay.
And then, in the middle of the Coltranes, there is this record: Sonny Clark, Sonny’s Crib, Blue Note 1576. And I remember thinking, why is the Sonny Clark record amid all of the Coltranes? But, of course, Coltrane is a sideman on this record and if the guy was a real Coltrane fan perhaps he organized his records according to his favorite artists and wanted all of his Coltrane records in one place. As a collector who constantly reorganizes and plays with my own collection, I could certainly relate to that.
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Tags: John Coltrane, Sonny Clark
Still More Adventures In Jazz Collecting, Part 2
Jul 21, 2012 Jazz Memoirs
So it came to that Monday, June 25, and I was driving down from The Berkshires to drop the lovely Mrs. JC off at her office in Great Neck and I was then to head out to Massapequa to see this record collection. And I really had no expectations about the collection and no real desire to see it and was feeling I was doing it just as a favor to the woman who sent me the e-mail to help her out because, clearly, her father loved jazz and it would be a nice thing to do. So I told the Lovely Mrs. JC, who tends to get nervous when I am around too many records, that there was nothing to worry about, that it was not a collectible collection and I would just take a look at it and give them advice and not be bringing any more records home. No problem, I said, but the look in her eyes was a familiar combination of doubt and dread.
I got to the house in Massapequa at the appointed time, put my dog Marty in a carrying bag and was greeted at the door by a muscular young man who let me in and told me his name was Adam and it was his grandfather’s collection. And then Adam’s mother appeared, and she was the one I had been e-mailing with, and introduced herself as Karen. I assumed Adam was there to ensure that I wasn’t some wacked out crazed record collecting nut, which seemed like a reasonable expectation at the time and I thought this was a wise decision on their behalf. Karen appeared to be a few years younger than me, but of my generation, and we started chatting and we had a very nice rapport because we had in common, among other things, fathers who were obsessed with jazz music and jazz records.
Tags: Coleman Hawkins, Impulse Records
Still More Adventures in Jazz Collecting, Part 1
Jul 20, 2012 Jazz Memoirs, The Great Jazz Vinyl Countdown
So I mentioned the other day that I recently purchased a record collection. Here is the story.
A few weeks ago a woman sent me the following e-mail:
“I’m wondering if you can help me. My dad passed away suddenly in an accident. He left a huge jazz collection of approximately 2500+ vinyl albums. He died at 82 and was a jazz enthusiastic since his teens and his collection dates back to then. To his great disappointment I did not share his passion for jazz. I am interested in selling his collection. How can I go about finding its value? I’ve read some of the information on your blog and realize I need to consult an expert. Any guidance you can give would be greatly appreciated.”
I get emails like this fairly often now that I do Jazz Collector. They usually don’t turn out to be much. I generally look to help people over e-mail and my advice if they have anything collectible is to usually tell them to try to sell the records on eBay. I’m not necessarily looking to purchase collections: I’m still a collector and not a dealer and I have way more records than I have places to keep them. Some of you, Rudolf I’m sure, may even recall that I began a project several years ago to pare down my collection, which I grandly labeled The Great Jazz Vinyl Countdown. Needless to say that project is quite defunct.
Tags: Coleman Hawkins, Edmond Hall
An Old Jazz Collector Tribute To Charlie Parker
May 31, 2012 Features, Jazz Memoirs
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This is something I’ve wanted to do for a long time. When I was breaking in as a journalist my first job was as the jazz critic for the Syracuse New Times, an alternative newspaper in Syracuse, NY. I did a bunch of interviews — Charles Mingus, Chick Corea, Larry Coryell, among others — record and concert reviews and other features. I once posted my Mingus Interview here at Jazz Collector. Most of the articles are long gone, not in my files, certainly not saved in any digital format — this was the early 1970s, nothing was digital then. However, I did save a copy of an article I wrote about Charlie Parker, which was timed to coincide with the 2oth anniversary of Bird’s death in 1975. I recently dug up the article and painstakingly retyped it into my computer and now it will be saved digitally forever and ever. And now, when people do a search of Charlie Parker and Al Perlman, I will forever be associated with Bird. It’s enough to put a big smile on my face, that thought. Me and Bird. I like it. Anyway, it’s a pretty well written article, if I must say so myself, but there are clearly youthful indiscretions and probably a little too much borrowing from Ross Russell’s Bird Lives, including the opening scene and some idle speculation that Bird got his nickname because he loved fried chicken. There are many stories to go with this article and how it got published — and how I got away with using the word “motherfucker.” But those are for another day. Oh, and I didn’t put that stupid headline on the article nor did I get to approve it. I’ve attached the article as a PDF to download for simple viewing. Here it is: Charlie Parker Article. I’m also going to see if I can post it below here without screwing up Jazz Collector and, to prove there really was an article to begin with, we have a picture of the original, from April 13, 1975. If you are going to comment, please be kind. I was only 22 years old at the time.
Tags: Al Perlman, Charlie Parker, Jazz Collector, Syracuse New Times
Score One For Jazz Collector
Jan 13, 2012 Blue Note, Jazz Memoirs
I wasn’t actually planning to write anything about my recent jazz vinyl acquisitions but, of course, my excitement and enthusiasm took over and I couldn’t resist. I have this idea of writing a Jazz Collector book – I’ve already begun – and the story of some of these record scores is going to be a central theme so I’m trying to save them. However, I mentioned it so now I have to embellish a little bit so I don’t leave you all tantalized. It started with a simple inquiry from a guy in Canada who was asking for advice about selling some records he had inherited. It almost always starts that way. I get inquiries like these three or four times a week. He said he had looked on Jazz Collector and it seemed that some of the records he owned were quite valuable – Blue Notes, he said, and they seemed original. I told him his best bet was to get Fred Cohen’s book, try to gauge the value of the records, and sell them himself on eBay. He said that’s what he was going to do and thanked me. I thought that was the end of it. But it wasn’t.
Tags: Sonny Clark
A New List: Jazz Vinyl Favorites By Label
Jul 29, 2011 Jazz Memoirs, Jazz Vinyl
In the comments on the previous post, Erich Schultz suggests we talk about Columbia and other labels where the music is great but the records are not as collectible. In the case of Columbia there are nice records that are collectible as well: Who’d have thought that Kind of Blue, which I think is the biggest selling jazz album ever, would be a collectible, but it is, if you can find mint original pressings, or original promo copies. We’ve seen Kind of Blue sell for more than $1,300 in the Jazz Collector Price Guide.
Anyway, Erich’s comments got me to thinking about some of my favorite records on Columbia and other labels, so I thought I’d do a quick post on these. This is all off the top of my head because my records are all over the place these days, so here are one, two or three favorites per label, just for fun. I’m sure I’ll miss many favorites, but that’s why we have comments on this site to make amends and amendments.
Atlantic: John Coltrane, Giant Steps (too obvious, right?). I also have a fondness for LaVern Baker Sings Bessie Smith and Charles Mingus Blues and Roots.
Argo: Art Farmer, Art
Bethlehem: Charlie Rouse and Paul Quinichette, The Chase is On; Dexter Gordon, Daddy Plays the Horn
Blue Note: We’ve been down this road before: I’m sticking with Art Blakey, Buhaina’s Delight and Freddie Redd, Shades of Redd. Perhaps throw in Donald Byrd’s A New Perspective and Horace Silver’s Song for My Father or Blowin’ the Blues Away in honor of my dad.
Columbia: Miles Davis, Kind of Blue and ‘Round Midnight (OK, I’m still being obvious, but really, how can you go against these records). Thelonious Monk, Criss Cross
Contemporary: Sonny Rollins and the Contemporary Leaders (yes, most people prefer Way Out West; I prefer this one); Art Pepper Meets the Rhythm Section
Decca: Billie Holiday, Lover Man
Emarcy: Brown and Roach, Inc., Clifford Brown and Max Roach at Basin Street; Sarah Vaughan with Clifford Brown
Impulse: John Coltrane at Birdland (A Love Supreme would be the obvious Trane, but I prefer this one); Oliver Nelson, Blues and the Abstract Truth; Coltrane Ballads
Jazzland: Johnny Griffin and Lockjaw Davis, Lookin’ at Monk
New Jazz: Eric Dolphy, Outward Bound, Jackie McLean, McLean’s Scene, Kenny Dorham, Quiet Kenny
Norgran/Clef: The Tal Farlow Album (10-inch); The President Plays with the Oscar Peterson Trio; Stan Getz Plays; Bird with Strings
Pacific Jazz: Chet Baker Sings; Gerry Mulligan plays Mulligan
Prestige: Sonny Rollins, Worktime, Tenor Madness, Plus Four; Coltrane, Soultrane
Riverside: Cannonball Adderley Live at the Lighthouse; Bill Evans, Waltz for Debby
Roost: Sonny Stitt and the New Yorkers
Savoy: All of the Birds
Verve: Ella and Louis; Tal Farlow, The Swinging Guitar; Ben Webster and Art Tatum
Moving . . . Moving . . . Moving . . . Moving . . .
Jul 21, 2011 Jazz Memoirs
Sorry I’ve been posting so irregularly. I’ve been in the throes of moving for the past few weeks and it’s been quite intense. I’ve actually been moving my records to three locations: My new apartment in the city, my new house in the country and my storage facility. Right now, the only records still in the house are those that are being sold at the estate sale, which begins tomorrow, and are being sold for $1 or $2 each. There may be some finds in there, but not too much. I had room for about 1,500 records in the city, so I went through my collection and pulled out a bunch of records that didn’t fit. Some are in storage, some are in the country. Also, I boxed up all of my 78s — I have at least 1,000, maybe more — as well as my 10-inch records and put those in storage as well, until a figure out where to put them. It’s been a process, to say the least. When you go through this, as many of you inevitably will, it does make you question the sanity of keeping so many records and figuring out what to do with them. I mean, it’s quite nice to have all of the Arnett Cobb records on Prestige because they are Prestige and they are original and they have that ’50s/’60s air about them, but when the time comes for me to listen to a tenor player, will Arnett Cobb ever again make it to my turntable?
Tags: Jazz Vinyl
Another Adventure in Jazz Collecting?
Feb 4, 2011 Jazz Memoirs
Last week I was driving along the Cross Island Parkway in Queens with the lovely Mrs. JC when she turned to me seriously and said that it was time to discuss what I wanted for my birthday, which happens to be today. I couldn’t think of anything and, in her always infinite wisdom, she asked what I loved to do. “I love to buy records.” What else? Of course, she said, that’s what we’ll do. So today the lovely Mrs. JC and I are heading into Manhattan to have lunch with our two junior JCs and then we are going downtown to the Jazz Record Center on 26th Street where I have carte blanche to purchase any record(s) of my choosing (plus the new Blue Note Guide). I must say that through the years I have never been much of a customer
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Tags: Jazz Record Center
Adventures In Jazz Collecting: The Score (Not)
Dec 6, 2010 Features, Jazz Memoirs
Mattyman tells the story of the Blue Mitchell record and the rude and competitive and somewhat nasty rival who bid the price up for no reason other than in the hope that Mattyman would put the record down and he would lay claim to it. Good for Mattyman to not fall for the bait and to go home with a great record at a reasonable price. We all have stories such as this. I have many of them, unfortunately. The one I recall most vividly is this, which I may have already told in another context but is worth repeating anyway: I was working my first record show back in the mid-1980s, when there were record shows often in the New York area. There were also many record stores as well, so it was quite a vibrant market. I had bought my friend’s collection and had duplicates for the first time and I was just trying to get rid of some records. I haven’t come very far since then, come to think of it.
Anyway, as happened once in a while those days, a guy came in with crates of rare records and had absolutely no idea of their value. No idea at all. New records were selling for $7.99 in stores, or something like that, so he figured used records must be $5 or so. So he priced all of his records at $5. This included Tina Brooks True Blue; Lee Morgan Candy; Hank Mobley’s Message, 1 and 2; and many, many others too numerous to name. The guy was at a table near me, and I would have pounced, but I never got the chance. As he was getting the records out of his car, two of the top New York dealers of the day accosted him, convinced him to show them the records and pulled out all of the valuables before they made their way into the room.
A Random Post of Favorite Jazz Vinyl
Oct 31, 2010 Features, Jazz Memoirs
This is a completely random post. At the WFMU Record Fair last week I was selling a copy of Miles Davis Steamin’ on Prestige and got into a discussion with a buyer and he said, of the Steamin’/Workin’/Cookin’/Relaxin’ group of albums that Steamin’ was his least favorite. I said, hmm, that’s interesting because Steamin’ is my favorite of the group. He eventually purchased Steamin’ from me and I’m hoping he’s pleased. In any case, I’m sitting here in my home office/music room staring at my records and thinking about some of my favorites from among the artists where I have (1) a lot a records and (2) clear favorites. Looking through the records, I realized for some artists – such as Lee Morgan, Hank Mobley even Horace Silver – I don’t have any single record that stands above the others. If pressed, I could name a favorite, which I will not do for those artists, but which I will do for some of the other artists where the choices, for me at least, are more clearcut. Some may be obvious, some more obscure, some may even be ridiculous to others, but these are the ones I like. Staring at my collection, looking at them in alphabetical order, here goes nothing:
Day Three (Not) At The WFMU Record Fair
Oct 26, 2010 Features, Jazz Memoirs
So, after more than an hour of live rock music blasting in my ears, I decided to bag it at the WFMU Record Fair after Saturday, so I packed my records, loaded them in my Prius and drove them home. But what was I to do with them next? There were a dozen boxes of records, probably 700 altogether, plus another 500 or 600 records already in the house or in storage that are to be sold. I’ve bought three collections in the past year, and I have at least that many duplicates or reissues or records I simply don’t want. Previously, I’ve been selling records on eBay, but my real work has gotten quite busy and I’m not doing that anymore, so it seemed I was facing the prospect of just putting all of these records in storage and waiting another year for the next WFMU Record Fair so I could sell 100 of them while getting bombarded with close range music of mass destruction.
It is at times like this when I wish I had a record store.
Then, on Sunday morning at 6 a.m., on what would have been Day Three of the WFMU Record Fair, I woke up startled with a clear revelation. I would
Tags: WFMU Record Fair
Day Two At the WFMU Record Fair
Oct 25, 2010 Features, Jazz Memoirs
I mentioned that my table was towards the back at the WFMU Record Fair this weekend. There were some clear disadvantages to this location. For one, the front of the room was mobbed and there was a lot of jazz at almost every table, so by the time people made it to my side of the room – if, indeed, they did make it at all – they were pretty jazzed out, and perhaps even all spent out with no more cash in their wallets. The second disadvantage to my location was the unfortunate reality that it was close to where the WFMU people had set up their live broadcast, which meant there was loud music and gab incessantly in my ears from 10 in the morning through the day. All of which was pretty bad.
And then it got worse.
Sometime in the later afternoon, perhaps 3 p.m. or so, they decided to have live music: Yes a rock band, followed by another rock band, each one trying to out-noise the other. Or so it seemed to these delicate, jazz-oriented ears. Loud doesn’t begin to describe what it was like at my table. The
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Tags: WFMU Record Fair
Day One At the WFMU Record Fair
Oct 23, 2010 Features, Jazz Memoirs
So yesterday was Day One of the WFMU Record Fair in New York City and I purchased a dealer table to sell of duplicates from my collection and other odds and ends and this was my experience.
There was a time, when I was an compulsive buyer of records – as opposed to now, when I am merely an obsessive buyer of records – when I would purchase a dealer’s table at a record show just so that I could show up early and look at the other dealers’ records before anyone else. I’d get there and hover while dealers of jazz records would be unpacking their wares and I could get first shot at their offerings. Don’t laugh – I got some mighty nice records this way.
Now, however, I am more serene about it. I didn’t get there yesterday until 3:30 and the show opened at four to early arrivals so I barely had time to even look. In fact, I convinced myself that the only reason I was looking at all was so that I could write about it here at Jazz Collector. I even made certain that I would not be buying either compulsively or obsessively or both: I only brought $100.
So at 3:30 I began roaming the floor with my $100. What struck me was that just about every table had jazz records: Some a box or two, some had many, many boxes. And it was a lot of the stuff
Tags: WFMU Record Fair
Another Day, Another Jazz Vinyl Collection
Sep 19, 2010 78-RPM Records, Features, Jazz Memoirs
I brought home another collection yesterday. It is an interesting one. It is mostly traditional jazz, but of more recent vintage. There was the full three-volume Mosaic Commodore set in near mint condition. That alone will cover my costs and the time and energy I expended. There were also a lot of 78s, mostly albums in beautiful condition – Louis Armstrong, Fats Waller, Lee Wiley, and others of that ilk, no bebop at all. There were also some nice 10-inch LPs in near mint condition, including a beautiful Lester Young on Clef and several of the Chet Baker’s on Pacific Jazz.
As I was laboriously going through the records on my porch in The Berkshires yesterday, much to the consternation of the lovely Mrs. JC, I discovered that there were about a dozen 12-inch Blue Note 78s – Sidney Bechet, Albert Ammons, etc. These are in
This Week — Live At The Monterey General Store
Aug 31, 2010 Features, Jazz Memoirs
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I play a little bit of jazz guitar — very little bit — but I am fortunate to have grown up with a fantastic, world-class jazz guitarist and we have remained great friends and this weekend we are doing a gig here in the beautiful Berkshire Mountains of Western Massachusetts. There are many stories I can tell about the circumstances that have led to this gig, 30-plus years in the making, but I will be brief. My friend, Dan Axelrod, was a musical prodigy from early childhood and he lived down the street from me and somehow we both fell in love with jazz as teenagers – Dan because he could play it as well as anyone and I because it was music that was always around, in my pores, courtesy of my dad. Dan and I used to hang around a lot and at various points he would teach me chords and how to strum and eventually I was proficient enough to accompany him as a rhythm guitarist, as long as we kept the changes relatively simple and dispatched with the suspended flatted fifths, ninths and thirteenths. What I lacked in ability I made up for in chutzpah and eventually I found us a gig at a local place called the Rainy Nighthouse and I somehow convinced Dan that this would be a fun thing to do, two nights a week. We were still in our late teens. Dan, if I recall properly, was studying with Billy Bauer and perhaps a little with Jim Hall and had not yet met his guitar hero, Tal Farlow, who would eventually become his great friend and mentor.
Adventures in Jazz Collecting: Red Carraro, Part 3
Jul 16, 2010 Features, Jazz Memoirs
Red in the basement
Back to my Red Carraro stories. If Red were alive today and reading this he’d look at the name on the Web site and swear he never knew me. That’s because when I first met Red I was still going by my childhood nickname, which was “Lit.” This came from being somewhat short in height and someone once started calling me little and it became Lit and it really stuck. Kids in school called me “Lit Perlman” but Red never knew my last name, or my first name, and always just called me Lit. “Lit, hey how ya doin,” Red would always say when he’d see me, with a smile and a warm pat on the pack. “I see you’re still hustlin’ for records.”
When I started my journalism career my first paying job was as the jazz critic for the New Times in Syracuse, an alternative weekly paper. I’ve repurposed at least one of my articles here at Jazz Collector in Memories of Mingus. Anyway, I had spent the first half of 1973 at home in Bayside mending my broken leg and spending a lot of time at Red’s house, in the basement, poring through records and listening to music. It was definitely good times. When I got back to Syracuse, I wanted to do Red a favor so I wrote a review of a record
Yet Another Adventure in Jazz Collecting
Jul 14, 2010 Features, Jazz Memoirs
I have another story for you.
As many of you may recall, I have this oddball penchant for occasional wild gambles on eBay: Purchasing records that are not well described or, more often, buying batches of records that might contain one or two gems without having any sense of whether the listing is accurate or even feasible. I have done this maybe a couple of dozen times and it has almost always worked out to my advantage.I tried it again recently and thought I had finally met my Waterloo.
Here it is: I was recently up the country for a couple of weeks, doing work, doing fishing, some writing, a little Jazz Collector and occasionally looking at eBay. One day I was perusing the eBay listings and came upon a listing that was as follows:
Jazz Record Albums – 118 Albums from collector.
The seller had zero feedback: A complete eBay novice. In the description he noted that these records were the collection from his late stepfather, who was a CPA and accountant for musicians. It was a really strange list with a lot of non-jazz, such as Al Green and
Tags: Jazz Vinyl, Jazz Vinyl on eBay
Adventures In Jazz Collecting: Red Carraro, Part 2
Jul 13, 2010 Features, Jazz Memoirs
I can’t tell you all how much pleasure it gives me to see the many wonderful comments about Red Carraro from his family and friends, as well as from the many jazz collectors whose lives he touched. This was why I started the Jazz Collector site in the first place, to build this kind of community. That it has actually happened is intensely gratifying, as you can imagine.
But I also left you all in the middle of a story, with me in a cast clutching a batch of records, sitting with Red in his basement, with no way of getting home. So there were Red and I sitting there, no idea what to do, when the door flung open and Dan came charging down the stairs again.
“Are you giving me the record?” he said.
“No,” I replied.
He looked at Red, as if Red should fix this with a Solomon-like gesture of perhaps breaking
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Adventures in Jazz Collecting: Red Carraro, Part 1
Jul 12, 2010 Features, Jazz Memoirs, Verve
There was a time, before the Internet and eBay, when jazz record dealers would amass hundreds of collectible records and compile them in lists and send those lists all over the world so that collectors could bid on them, blindly, hoping they would make the top bid and receive a shipment of rare jazz vinyl several weeks later. One of the leading and last practitioners of this fading art was a gentleman, and I use that word purposefully, by the name of William Carraro, known to all as “Red.” I am sad to report that Red passed away in his sleep yesterday morning.
I will tell you more about Red in a subsequent post, but first let me tell you the story of the first time I met Red. It was back in the early 1970s and I had just started collecting jazz records. I was 19 years old. My good friend from childhood Dan Axelrod had also begun collecting jazz records at the same time and Dan was far more obsessive about it than I was, so he was always finding scores before me. He’d call from Philadelphia or Miami, out of breath, describing beautiful Blue Notes
Adventures in Jazz Collecting: The Auction, Part 6
Apr 12, 2010 10-Inch LPs, Features, Jazz Memoirs
Now we get to the batch of records that turned out to be the most pleasant surprise of all. There was at one point a group listed as such: Bill Evans, Seven Riverside LPs. There was a picture on the Web site and there was a copy of Waltz for Debby in there and perhaps an original pressing of New Jazz Conceptions as well. Anyway, I was hoping to steal this one, but once the bidding surpassed $400 I realized there was no steal to be had and I had better keep my mouth shut. The package eventually went for $650. Ah, well. However, about 15 minutes later there was another group of LPs, described as such: Bill Evans, Eleven LPs, Eight Verve and Three Riverside. There was no picture or other description. I won this lot at $80, so my total for these 11 records was $93.60. This is a great batch of music, and each record is in
Tags: Bill Evans, Duke Ellington, Tal Farlow
