This one got a pretty high top bid, but did not sell because it didn’t meet the seller’s reserve price:

Hank Mobley and Lee Morgan, Peckin’ Time, Blue Note 1574. This was an original pressing that looked to be in M- condition for the record and VG++ for the cover. The top bid was $910. You can see where the seller expected more: The last six times we’ve recorded this record into the Jazz Collector Price Guide it sold for more than $1,000, with a top price of more than $2,600.

Hmm, this one doesn’t normally get the Jazz Collector  prices, particularly the stereo version: Jimmy Heath, The Thumper, Riverside 1160. This was the original black label stereo version. The record was in M- condition and the cover was probably VG++. It sold for $163.50 but there were only two bidders, which raises a bit of an alert with me. This one was from the same seller: Cannonball Adderley Quintet at the Lighthouse, Riverside 344. This was an original deep groove mono pressing. The record and cover were in M- condition and, again, there were two bidders. The top bid was $88.

There were still a few more we were watching from the jazz5060/Music Matters auction, including a few that went for quite high prices, compared to what they normally fetch. For example:

Art Farmer, Farmer’s Market, Prestige 8203. I always found this one to be an interesting curiosity because of the number in the 8200 series. This was a short-lived series and I’m not sure what Prestige was thinking at the time. Perhaps one of the Prestige experts out there — hello, Rudolf — has more information. This was a review copy with the original yellow label and it was in M- condition for both the record and the cover. It sold for a whopping $707. This one also got a very high price, all things considered: Mal Waldron, The Quest, New Jazz 8269. This record features Eric Dolphy and Booker Ervin, a nice combination indeed, Mingus alumni, and it was in M- condition for the record and the cover. It sold for $630. Our previous high for this in the Jazz Collector Price Guide was $170

Hank Mobley, Blue Note 1568. This was the one that was in M- condition for the record and VG++ or M- for the cover. It sold for quite a hefty price, $4,600, but not a record high. This guy was bid all the way up to $2,720 and STILL didn’t meet the seller’s reserve price. Wow: Jackie McLean, The New Tradition, Ad Lib 6601. The record was described as being in M- condition and the cover was VG++ or M-.

This one, believe it or not, entered the $2,000 bin: Bill Evans, Waltz for Debby, Riverside 399. The seller didn’t actually apply a grade for either the cover or record, but noted that the vinyl was in “great shape” other than for a paper scratch or two. Somewhat reassuring, but not enough for me to wager $2,075, which is what the winning bidder put up. It was a white label promo copy, but still.

Here are a couple more for the $1,000 bin:

J. R. Monterose, The Message, Jaro 5004. This was an original pressing in M- condition for the record and the cover. It sold for $1,292.56.

Dexter Gordon, Dexter Blows Hot and Cool, Dootone 207. This one had the original red vinyl and was in VG+ or better condition for the record and VG or better for the cover. It sold for $1,025.

We need a new explanation for this one: Horace Silver, Song For My Father, Blue Note 4185. Admittedly this is a great, classic record and this was an original mono pressing in near mint condition for both the record and the cover. Why is there a new explanation needed? Conventional wisdom has said that because of the initial popularity of this record, there has always been a relatively abundant supply of original pressings in decent condition. Conventional wisdom may be changing. This particular copy sold for $405. Our previous high for this in the Jazz Collector Price Guide was $334 and, at the time, we considered that to be an aberration. What’s this?

And this? Gene Ammons, Blue Gene, Prestige 7146. This was from the same seller and it was also in near mint condition for the record and the cover. You’d normally expect this in the $40-$50 range, maybe a drop higher because of the condition. This copy sold for $164.50.

This next one got quite a high price, but not a surprising one:

Hank Mobley, Hank, Blue Note 1560. This was an original pressing listed in near mint condition for both the record and the cover. It sold for $2,480.

This one, from the same seller, broke its way into the $1,000 bin for the first time: Dexter Gordon, Daddy Plays the Horn, Bethlehem 36. This was also described as being in near mint condition. It sold for $1,325.

I always liked this record: Abbey Lincoln with the Riverside Jazz Stars, Riverside 251. This one features Sonny Rollins and Kenny Dorham in nice support roles. The record was listed as VG+ and the cover as VG++, but the descriptions/picture might make you a bit wary, especially a mention of “feelable” marks. It sold for $177.50.

It’s been a while since we’ve tracked a nice copy of Tina Brooks, True Blue, Blue Note 4041. This one was an original pressing listed in VG++ condition for the record and M- for the cover. It sold for $1,913.

Here’s a nice Riverside: Ernie Henry, Last Chorus, Riverside 266. This looked to be an original pressing in M- condition for both the record and the cover. It sold for $270.

While we’re on Riversides, here’s one two numbers apart: Johnny Griffin Sextet, Riverside 264. This one was in M- condition for both the record and the cover. It sold for $349.95. My dad used to search high and low for the Riversides in the bargain bins of a couple of record stores along 8th Street in Greenwich Village in the ’60s. I wish he would have bought some of these, but he wound up with a lot of Cannonball, a lot of Wes Montgomery and some Bill Evans. No complaints, really. I still have many of those great records from my dad.

This Riverside was part of the auction last week from the Jazz Record Center: The Incredible Jazz Guitar of West Montgomery, Riverside 320. This was an original pressing that looked to be in M- condition for both the record and the cover. It sold for $565.55.

Walter Davis Jr., Davis Cup, Blue Note 4018. This looks to be an original pressing in not-too-great condition. Record looks to be VG or VG+ and the cover is rated as VG. The auction closes later today and the bidding is in the $150 range. I have a United Artists pressing of this record and would love an original, even one in VG condition. But this will probably sell for somewhere around $300, so I think I’ll wait.

I’m still surprised to see these Benny Golson LPs selling for such high prices, although I’ve always been a fan myself: Benny Golson, Gone With Golson, New Jazz 8235. This is an original purple label pressing and it is listed in M- condition for the record and Ex for the cover, which is probably VG++? There are more than two days left on this auction and the bidding is already nearing $400. Speaking of which, here is a copy of my favorite Benny Golson record: Benny Golson, The Modern Touch, Riverside 256. This is an original deep groove blue label pressing that is listed in M- condition for both the record and the cover. The price is well less than $100 at this point, with a few days to go. If you don’t know this record, it’s one to check out. Really nice arrangements, some great Kenny Dorham, and a fantastic rhythm section with Paul Chambers, Max Roach and Wynton Kelly. Doesn’t get much better than that.

Here’s another favorite, with a great cover:

Eric Dolphy, Outward Bound, New Jazz 8236. This is an original purple label pressing with the deep grooves. The record is graded in EX condition — again, is that VG++? — and the cover is graded VG++. The current price is around $80 with a couple of days to go. There is, however, a reserve price that has not yet been met.

Sonny Rollins, Saxophone Colossus, Prestige 7079. This was an original New York pressing. The record was described as M- condition and the cover looked to be at least VG++, perhaps M- depending upon your grading system. This one sold for $1,536. We’ve seen this one sell for more than $2,000 several times in the Jazz Collector Price Guide, and once approach $3,000. So perhaps this is a bargain, or perhaps it’s just where the market was on this particular day. The item did have more than 400 page views, which is a significant amount.

Here’s a Riverside that did quite well for the seller, which was Euclid Records: Wynton Kelly Piano. Riverside 254. This was an original Blue label pressing with the deep grooves. It was in M- condition for both the record and the cover. The price was $710. Nice cover on this record, right? Straight from the ’50s.

So this next one made the $1,000 bin after all:

Art Pepper, Modern Art, Intro 606. This was an original pressing in VG++ condition for both the record and the cover. It sold for $1,515.

Surprised this one didn’t sell for more: Johnny Griffin, The Congregation, Blue Note 1580. This looked to be an original pressing and it has the Andy Warhol cover. The record was listed in VG condition and the cover was VG+. It sold for $681.02, which, on second thought, is not a bad price for the seller, even with the Warhol cover.

Why isn’t this record worth more: Thelonious Monk and Sonny Rollins, Prestige 7075? This was an original New York pressing. The record was in M- condition — nearly new — and the cover looked like it was at least VG++, maybe better. It sold for $192.50. I happen to think this is a terrific album. I love Sonny’s interpretation of The Way You Look Tonight. When I was first getting into jazz I used to compare this version to the Stan Getz version on Stan Getz Plays and it took me a while to reconcile not only that it was the same song, but that it was even the same instrument. My ears are obviously much more sophisticated now, but at the time the difference in approach seemed so stark. And I liked both versions. Anyway, I repeat my query: Why is this great original Prestige, featuring two of the geniuses of modern jazz, not even a $200 record?

This has always been one of the rarest and more expensive of the Riversides, for good reason: Sonny Rollins, The Sound of Sonny, Riverside 241. This was an original white label pressing and it was in M- condition for both the record and the cover. It sold for $765. It’s the presence of Sonny Clark with Rollins that makes this one so sought-after, no?

Now for a few Blue Notes:

Kenny Dorham, Afro-Cuban, Blue Note 5065. This was an original 10-inch pressing and it was in M- condition for both the record and the cover. The price was $854.09. Someone will be quite pleased to get this record in this condition.

Horace Parlan, Up and Down, Blue Note 4082. This was an original New York USA pressing with a “Review Copy” stamp. The record and cover looked to be in M- condition and the top bid was $656.60.

Donald Byrd, Byrd in Hand, Blue Note 4019. This was an original, deep groove West 63rd Street pressing in M- condition for the vinyl and probably VG+ for the cover. The price was $332.87.

I was also considering a bid on this one because it wasn’t getting much action:

Julius Watkins Sextet, Blue Note 5053. This was an original 10-inch pressing and it was probably in VG+ or VG++ condition for the record and probably VG+ for the cover, although the seller uses a grading system unlike mine and, seemingly, unlike that of anyone else. But he does have more than 11,000 feedbacks and a 100 percent rating, so it must work on some level. Anyway, this was hovering in the $50 range for a while and wound up selling for $130.50. I wouldn’t have gone that high, which is a good thing, since my 10-inch LPs are now sitting in storage and, frankly, I still don’t have a plan or a place for them to permanently settle.