I’m listening to an old Prestige LP now and I’m reading the liner notes and it talks about the artist having been an inspector of blueprints at a Sperry gyroscope factory. I may have known this at one time, but at this stage I’ve probably forgotten more than I remember. Anyone want to hazard a guess as to who this is?
Aug 24, 2010 Questions
I was sitting on the porch at my lakehouse with the lovely Mrs. JC yesterday afternoon and we were listing to a playlist I had made for my iPod of various ballad performances. Yes, I do have an iPod and other various digital devices and I do not only listen to music playing on a turntable, although that is always the preferred method when available. Anyway, as we were listening, one of the tracks was “Jim” from the Sarah Vaughan album with Clifford Brown, Emarcy 36004. I mentioned quite randomly that many jazz fans and jazz collectors consider this track to be one of the greatest jazz vocal ballad performances of all time. I’m not sure where I came up with that information, but it was definitely lodged in my brain somewhere: Perhaps there was a vote somewhere, or perhaps it had just come up in late night discussion over a few beverages. Anyway, I thought it might be an interesting topic for a lazy weekday afternoon in August, so I’m throwing it out there for the Jazz Collector community. Favorite jazz ballad vocal performances. Okay, go!
In another post (A Visit To A Record Store, Part 2), Jan poses an interesting question, addressed to experienced and serious collectors: What do you consider to be collectible and how do you decide if a second pressing of a record is collectible or not?
I am not, I must admit, among the most serious of collectors. I know this sounds odd coming from the guy who writes about jazz records every day, pores over eBay listings to decide which records to put in the Price Guide and writes articles under the headline “Confessions of a Vinyl Addict.”
However, and this gets to Jan’s point: The copy of Saxophone Colossus in my collection is a Bergenfield, N.J. pressing. Same with Tenor Madness. I have the Bergenfield copies, they are in great condition, they have yellow labels, this is enough for me. I have the music in an early pressing, it sounds great, I’m OK. Would I like a New York pressing of both of these records? Yes. Would I ever obsess about it? No. Would I ever pay the going rate on eBay for them? Not a chance.
The people I’ve always considered to be “serious collectors” wouldn’t accept these second pressings and are constantly hunting for the original pressings and would not be content with anything but an original. I do think, however, things are changing and the
Tags: Jazz Vinyl
Jan 29, 2010 Questions
Quick question from a reader: A black label pressing of John Coltrane Giant Steps, Atlantic 1311, with no deep groove. Black label, mono, no DG. If it’s not an original pressing, what is it? I’m not asking this as a quiz: I’m asking to find the answer.
The Blue Note information provided by Larry Cohn has been invaluable and yet, it seems, there is always more to learn. We noticed this tidbit in a posting by Fred Cohen at the Jazz Record Center, which has a new auction on eBay this week: Wayne Shorter, Adams Apple, Blue Note 8232. This is listed as an original mono pressing with the Liberty label. Under normal circumstances you would expect this to be a New York USA label, based on the catalogue number. However, Fred points out
Last week one of our readers asked about deep grooves and flat edges. Another reader reached out to the Blue Note expert Larry Cohn for the answers. Last week we posted the answer about the Blue Note flat edge LPs. Here is Larry’s response on the deep groove. Thanks to Larry for being so generous with the information and to Don-Lucky for reaching out.
“Put simply, there were special dies attached to the pressing machine, that held down the stampers for Side A and Side B during manufacturing. These dies traditionally cut the deep groove into the label during a pressing. In 1961 new dies were created that were more streamlined, holding down the stampers in place but putting the mere slight indentation into the label – what we see on modern pressings and call NO DG.
“These parts were interchangeable and compatible with the machines, so for the period
Tags: Blue Note Records
We have the full, complete, unassailable answer to all questions about Blue Note and the flat edge, thanks to the Blue Note expert Larry Cohn and Don-Lucky for reaching out to Larry. We will also be posting Larry’s comments on the deep groove as well. Here’s the information on the flat edge:
“Here’s some information on the Edges/Rims. The change from Flat Rim (aka Flat Edge) to Safety Lip occurred in 1957. It was in response to new industry standards, occasioned by the popularity of automatic changers, whereby disks were routinely stacked and would fall on each other, the way we recall handling 45rpm disks. To lessen the damage to the LPs, the Safety Lip, also called a Groove Guard by one of the companies, was created at the edge of each side of the disk to keep the actual surfaces of the two disks from touching each other when they came into horizontal contact. It also protected the needle, since
Tags: Flat Edge
Dec 21, 2009 Questions
Sorry I haven’t posted in a couple of days. Was stuck in a snowstorm without my computer. It was like being cut off from civilization. Anyway, I’m back and will soon get caught up on all I’ve missed in the Jazz Collector world. In the meantime, one of our readers posts a question for our readers: What is the derivation of the deep groove and the flat edge? Where they technical considerations that were later abandoned as the technology shifted? Were they specific to certain labels and pressing factories? It’s a good question and I’m sure searching deep on Google may provide an answer, but perhaps we can provide a shortcut and fodder for interesting conversation by asking it here. So, to all, whither the deep groove and the flat edge?
Duonri reminded me that I didn’t include this record from Nautiluso in the list: Jackie McLean, The New Tradition, Ad Lib 6601. This was listed in M- condition and wound up selling for $4,036, the highest price we’ve ever recorded for a jazz record on the Jazz Collector Price Guide. So I went back to the original listing in order to record it, and I noticed something I hadn’t noticed before: The seller says this one has the RVG in the deadwax? The question I ask: Is this possible — does an original pressing of The New Tradition have the RVG in the deadwax, or did he just make that up? I would have looked in my own collection for the answer but, unfortunately, I sold my copy of The New Tradition for a mere $400 nearly 20 years ago. Many of you may have heard this story before, but I sold a bunch of my rarest records in one shot so I could buy a boat. Six months later
Nov 10, 2009 Questions
I was just posting an old Joe Newman RCA album on eBay and came across the following pseudonyms: Phil Ffunque on alto and Jimmy O’Heigho on trombone. Pretty easy to figure out, but I won’t spoil the fun. My favorite is still Buckshot La Funke from Here Comes Louis Smith, Blue Note 1584.
“Al – I recently picked up two copies of Stan Getz / Interpretations #2 on Norgran. Here’s a question I haven’t been able to answer though. The label on the first lp is printed with a slightly smaller font and reads “Norgran Sales Corp.” at the bottom. The vinyl also feels slightly lighter than the second LP. The second LP reads “Jazz at the Philharmonic, Inc.” at the bottom and the vinyl feels more like slate in terms of weight. Other than that, the LPs are identical. Given the attention collectors give to what a label says, how it’s printed, etc., I was wondering if you or anyone on your site could add to what little info I have in terms of the significance of the variant labels. I also find it odd that such meticulous care is given to detailing the variations among certain labels (i.e. Blue Note), but others like Norgran seem to be ignored. Thanks for your time. – Jason”
So I looked through my collection and found my copy. That’s mine in the picture.
Tags: Stan Getz
Geraint apologizes in an earlier comment for mentioning another seller’s auction on this site. No reason to apologize — actually, I really appreciate it when you share other listings on Jazz Collector. The whole idea is to create a community where we share information, so please feel free. The only thing I’d prefer not taking place is the out and out bashing of eBay sellers, simply because I don’t want the site to be misused by someone who may have an axe to grind. However, if you spot sellers who are consistently inaccurate or deceptive in their listings, that to me is fair game, focusing on the listings. It’s been gratifying because I’ve been offline for a couple of days and the comments are continuing to roll on even when I’m not putting up new posts myself. Keep it up, everyone, we’re all doing good work.
Sep 3, 2009 Questions
Just found out the other day that the pianist Eddie Higgins passed away. He and his wife, the singer Meredith d’Ambrosio, were friends of my parents down in Florida. Anyway, the question is this: In 1960 Eddie was a sideman on a date with Lee Morgan. What was the record, what was the label?
The other day we pointed out the Phil Woods 10-inch LP on New Jazz. This is a tough one: Altogether, how many 10-inch LPs were issued on the New Jazz label? For extra credit, you can name as many as possible. If you get desperate, the answer can be found somewhere on the Jazz Collector site.
Someone asked us off-line if the LP Dexter Calling by Dexter Gordon, Blue Note 4083, is known to have pressings with the West 63rd Street label. There is often confusion about some of these titles right on the cusp of when the company moved and changed addresses. I’ve seen sellers on eBay list Sonny Rollins Volume 1, Blue Note 1542, as a West 63rd Street original when I have a Lexington Avenue copy on my shelf. Anyway, on the Dexter Record, the original pressing is New York USA. This question had come up a few years ago and the Blue Note expert Larry Cohn set us straight. The real question is on the Dexter Gordon LP Doin’ Allright, Blue Note 4077. There actually are pressings of this with the West 63rd Street label, but there is no evidence to suggest that these are any earlier than the New York USA pressings. This album was issued at a time when Blue Note was in transition and they simply used both labels while they
Tags: Dexter Gordon
We posted that item about Savoy the other day and got the following email from Rich, one of our loyal readers. He poses some questions about Savoy. I figured I’d post the question here, also in the interest of making the results easily searchable. Hopefully this will generate some insight about the Savoy label:
“Did you notice that the Klook’s Clique Savoy from the same seller as the Mobley’s Message 2 just went for a few bucks. I have a good copy. I did not have a chance to bid. Even with a good copy I would have gone to $100 anyway.
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Read the rest of this entry »
Tags: Kenny Clarke
Jun 12, 2009 Questions
The Quickie Quiz is back. Here goes: On the album, John Coltrane, Ole, Atlantic 1373, there is an appearance by a musician by the name of George Lane. To my knowledge, George Lane never appeared on any other record. Why is that?
May 27, 2009 Questions
Ever since we started appearing regularly in Google searches, all kinds of interesting people are finding Jazz Collector, which is great. We recently got a peak at a very cool Bud Powell collectible that we hope to share with you soon, and we also just got a note from a documentary filmmaker who is looking for a serious jazz record collector in the greater Washington DC area for a documentary movie about jazz. If you fit the bill and are interested in appearing in a documentary, you can contact Stefan at email@example.com. If you do participate in this, please make sure to share the experience with your colleagues here at Jazz Collector.
Tags: Washington DC Jazz
Apr 16, 2009 Questions
Haven’t done a quiz in awhile and the post on Newk’s Time this morning got me thinking: How did Sonny Rollins get the nickname Newk?
Yes, Rudolf, that is correct. Here’s a picture of Don Newcombe in his Dodgers uniform in the mid-1950s. And below is our Newk in a different kind of uniform.
Tags: Sonny Rollins
Back from Key West. It was very nice, but it’s nice to be back home among my vinyl friends. Here’s a question from the archives, which I’m continuing to wade through: On John Coltrane Soultrane, Prestige 7142, there is a beautiful ballad called “Theme For Ernie.” Who was the Ernie that inspired the tune? Bonus: Who wrote it? Of course, it’s easy to look up. But let’s see who knows the answer without doing so. As always, we will rely on the Honor System.
Tags: John Coltrane