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Chet, Miles, Zoot, Sonny Clark

Al — Wed, 22 May 2013 13:05:18 +0000

Back to eBay with a few more recent jazz vinyl auctions, starting with: Chet Baker, Chet, Riverside 299. This looks to be an original pressing in VG+ condition. It sold for $337, which is the highest price we’ve ever recorded for this record in the Jazz Collector Price Guide (although, admittedly, this is not one that have have often followed). Why such a high price tag for this one? It’s got to be the presence of Bill Evans on piano, right?

Sonny Clark Trio, Blue Note 1579. This is an original West 63rd pressing listed in VG+ condition with some minor scratches and EXC for the cover, which seems to be equivalent to VG++ based on the seller’s description. It sold for $760. It used to be records had to be in near mint condition, or close to near mint, to fetch those kinds of collectible prices, but no more. There is a huge demand for any of these high-end collectibles in any condition, and certainly in any condition that will give you a good listening experience.

How about another Blue Note:

Miles Davis Volume 2, Blue Note 1502. This was an original Lexington Avenue pressing that was in nice condition for the record, either VG++ or M-, and probably VG+ for the cover. It sold for $393.

And back to France once again: Zoot Sims with Henri Renaud and Jon Eardley, Ducretet Thomson 250-V023. This was an original 10-inch pressing in pretty weak condition, just G for the record with a “constant cackle” and a VG cover. Nevertheless, someone wanted this record enough to pay $299.99 for it — although I am always suspicious of one-bid auctions, because of the possibility that the seller would have a separate account or a ringer make a bid just to spike interest.

A Pair of Blue Notes, A Pair of Prestiges

Al — Mon, 20 May 2013 14:26:27 +0000

Monday morning, so let’s catch up with some jazz vinyl auctions we were watching over the weekend, starting with a couple of Blue Notes: Freddie Redd, Shades of Redd, Blue Note 4045. This was an original pressing in Ex condition for the record and VG++ for the cover. It sold for $987. Long-time readers will know that this one is still near the top of my want list and also that I would never pay $987 for a copy. It’s nice to have holes in the collection so that there always remains excitement in the hunt, at least for me. Just filling in all the blanks by paying top dollar on eBay is a valid way to build a great collection, and it’s probably a great investment as well, given how prices for collectible jazz records keep rising. But it’s never been my choice in how to build a collection. This following record, in fact, is one I had in my collection and sold because one of our readers here at Jazz Collector made me an offer I couldn’t refuse: Horace Parlan, Us Three, Blue Note 4037. This looks to be an original West 63rd Street pressing with the promo stamp. It was listed in VG++ condition for the record and the cover. It sold for $1,078.99.

From Blue Note to Prestige:

Miles Davis, Relaxin’, Prestige 7129. This was an original yellow label pressing with the New York address. The record was listed in Ex condition and the cover was M-. The record sold for $481.88. Zoot Sims Quartets, Prestige 7026. This was also an original New York yellow label in VG++ condition for both the record and the cover. It sold for $199.99 with just one bidder. I have a sense this would have sold for more if the seller had more experience and a higher rating.

A Trip To a Record Store

Al — Sat, 18 May 2013 18:46:10 +0000

I had the opportunity to be in Princeton, NJ. yesterday. My son was involved as associate director of a production of “Into the Woods” (check out the New York Times review), and I was there to see the play. Naturally, I made it my business to arrive early and pay a visit to the Princeton Record Exchange. Now, I must admit, despite my relatively close geographic proximity to Princeton, I hadn’t been to the Princeton Record Exchange in years. A couple of reasons: I had found that they were a bit high priced when they had major collectibles and, more relevantly, they had always had this nasty habit of placing really sticky, hard-to-remove labels directly on the covers of records. I can often go through the records in my collection and know by the label tears which ones I purchased at the Princeton Record Exchange. At some point, I decided it wasn’t worth buying records and then getting upset because I was ruining the covers because my fingernails weren’t long enough to really get under their stupid labels. We collectors have our own idiosyncrasies, don’t we? Wonder if anyone else has had the same issue with Princeton Record Exchange? In any case, I arrived there yesterday afternoon atabout 4:30 with at least a half hour to peruse the store for the first time in about a decade. I vowed not to buy anything, just to look around and report to the Jazz Collector audience. Well, about 45 minutes later I walked out with a bag full of records, of course.

These are some of my observations. Unfortunately, they are still using the same crappy labels. Geez, you’d think they’d learn after all these years. So far, I’ve peeled the labels off two records successfully, no tears, but I’m pretty sure I will ruin a couple of covers that don’t have coated finishes, such as one of the Ella Sings Gershwin records. Why did I even buy the Ella Sings Gershwin record? No idea. I already have it, but it was cheap, in nice shape and I figured I could bring a copy to my house in the country. Another one in the same category was the reissue of the Duke Jordan Signal LP on Savoy, the original of which is pictured with this post. I have an original pressing, but I had thought mine was in not-so-great condition. Turns out, my original is M-. So now I have an M- Savoy as well. Up to the country for this one as well.

Another observation: The inventory at this store is mighty and impressive, as good as you will find anywhere. If you were just starting out to build a collection of great music — not necessarily collectibles, but great music — you would find enough in this store to have a collection to listen to for the rest of your life. They have so much — reissues, a few originals, later pressings — and their prices are very reasonable, with lots of great, great music in the $1 and $2 bins. Without spending a fortune, you could build quite a library. If I were just starting out, I think I would do just that. Focus on the music and forget about the collectibles. Of course, that would only last for a limited time before I’d get the collectible fever, right?

As for real collectibles, nada. They have a section of rare jazz records, but there was nothing to speak of in there, not even a minor temptation. And if you look through the bins you can find an occasional collectible, but no Blue Notes or Prestiges or anything of that ilk. I asked one of the managers about collectible jazz and he said they put everything out on the floor and, when they do get the heavy-duty items, they fly off the shelves immediately. You have to walk in at the right time. Guess once every 10 years isn’t quite going to do it. But there’s hope. I liked Into the Woods so much, I’m thinking of going back within the next couple of weeks. And, this time, I will make sure to allocate more time for record hunting.

Five For the Watch List

Al — Fri, 17 May 2013 15:15:01 +0000

I just spent some time perusing jazz vinyl listings on eBay and, my, I was able to fill up my watch list quickly. Here are some of the items, starting with: Pepper Adams, Donald Byrd, et al, Motor City Scene, Bethlehem 6056. This is a rare one you don’t see very often. In fact, I don’t recall ever seeing a copy of this record in any store or any collection. This one is in VG+ condition for the record and VG for the cover. It closes in a couple of hours and the bidding is at $450.

The Return of Art Pepper, Jazz West JWLP 10. This looks to be an original pressing in VG+ condition for the record and probably VG or a little better for the cover, based on the seller’s description. It also closes today and the bidding is in the low $200 range.

Temptation is back: Freddie Redd, Shades of Redd, Blue Note 4045. This looks to be an original pressing listed in Ex condition for the record and VG++ for the cover. There are two days to go and the bidding is in the $250 range. Father’s Day is in a few weeks. Hmmm.

Zoot Sims Quartets, Prestige 7026. This is another one you don’t see too often. It looks to be an original New York yellow label pressing. The record and cover are listed in VG++ condition. The start price is in the $200 range and, so far, there are no bidders with two days to go.

Speaking of female jazz musicians, as we were a few days ago: Jutta Hipp Quintet, Blue Note 5056. This is an original 10-inch pressing in M- condition for the record and VG++ for the cover. Looks like a beauty and it will surely get top dollar. Bidding is already at $500 and there are more than three days to go.

A Picture is Worth a Few Hundred Bucks

Al — Wed, 15 May 2013 14:47:37 +0000

Let’s look at a few more jazz vinyl auctions we’ve been watching on eBay. Here’s why it’s good to show a full range of pictures with the listing: Helen Merrill, Emarcy 36006. This one had the drummer logo, deep grooves, etc., and I am pretty sure the seller thought it was an original pressing, even using the djukikian term “megarare.” The record was probably in VG+ condition for the record and the cover. The thing is, it did not have the blue writing on the back cover, so the bidding topped out, reasonably I would say, at $335. It did not sell, however, because it failed to meet the seller’s reserve price. Without the picture, my bet is that someone takes a chance and bids several hundred dollars higher, perhaps reaching the reserve price.

There was no confusion about this one: Duke Jordan, Flight to Jordan, Blue Note 4046. This was an original pressing with the ear, deep grooves, and West, 63rd Street address. It was in VG+ condition for both the record and the cover and sold for $565.55.

I guess some of the Miles Davis Columbia records are becoming more valued by collectors:

Miles Davis, Someday My Prince Will Come, Columbia 1656. This was an original mono 6-eye pressing in M- condition for the record and cover. This one had the advantage of having a plastic inner sleeve that was still closed, so it was quite likely never played. It sold for $156.50.

Nice Records, Quite High Price Tags

Al — Mon, 13 May 2013 23:28:34 +0000

Let’s catch up on some rare jazz vinyl auctions we’ve been watching, starting with: Gene Ammons, HiFi Jam Sessions, Prestige 7060. This was an original New York yellow label pressing. The record and cover were in M- condition. You may recall I posted on this last week when there were no bids and a start price of $200. I was speculating about whether it would sell at all for that start price, and my prognostication was that it would sell. Indeed, it did: for $607. Quite a nice price for a Gene Ammons Prestige, which don’t often sell for such quite a lofty figure. The seller SweeDeeDee had quite a week, with several of his records selling for quite high prices. Here are a couple more: Horace Silver and Spotlight on Drums with Art Blakey and Sabu, Blue Note 1520. This was an original Lexington Avenue pressing in VG++ condition for the record and M- for the cover. It sold for $681. Thelonious Monk with Sonny Rollins, Work, Prestige 7169. This is a New Jersey yellow label pressing, but the record is a reissue, an early reissue, but a reissue nonetheless. It was in M- condition for both the record and the cover and sold for $293. Wow.

Listening Again to The “New” Miles Davis Quintet

Al — Mon, 13 May 2013 12:47:44 +0000

One of the great things about having so many collectible records is that I can always dig somewhere into my collection and find a classic record I haven’t listed to in a while. I did that last night, putting The New Miles Davis Quintet, Prestige 7014, on the turntable for the first time in a number of years. It’s a classic and, of course, the first Miles record with John Coltrane. A few things struck me about this record. Miles and Trane were the same age, both 29 when the album was recorded, yet they were at much different points in their careers and in their development. Miles was fully formed and his playing was absolutely confident. Trane’s playing was much more tentative and his style was not nearly as developed as it would become in the ensuing years. You can hear elements of his budding genius, but just elements and otherwise you hear someone still working on finding himself. For the hell of it, right after listening to this LP, I put on A Love Supreme and, obviously the difference was quite stark. Another thing about this record ishow tight the rhythm section was, this being their first album together. In particular, it is quite amazing that Paul Chambers had so much under his fingers at the age of 20. Also, interesting that on the four standards on this record there is no ensemble playing, just Miles playing the heads with the rhythm section and a succession of solos, with Trane laying out on “There is no Greater Love.” It sounds like an extension of The Musings of Miles, Prestige 7007, which probably makes sense since that was Miles’ immediately preceding record. Finally, it’s always fun to look at the liner notes of these original 1950s pressings. On this one Coltrane is referred to as “Train” and Red Garland is noted as an ex-boxer who once fought Sugar Ray Robinson. Good thing for all of us that he didn’t bust up his hands.

The Girls on the Vinyl

Al — Sun, 12 May 2013 14:41:52 +0000

Saw this interesting movie yesterday called “The Girls in the Band.” It’s a documentary about female jazz musicians, not vocalists, from early jazz through today. So naturally, my reaction on walking out of the theater is that I wanted to write something about it for Jazz Collector and, of course, my focus would be on collectible records by female jazz artists. I was taxing my brain to come up with the most valuable jazz record by female artists and all I could come up with were the Toshiko Akiyoshi records on Storyville and Norgran. So I got up this morning, did a search by price on the Jazz Collector Price Guide and the obvious records came up right away: The Jutta Hipp records on Blue Note, particularly Blue Note 1530 with Zoot Sims. Duh. I didn’t think of these immediately because, surprisingly, Jutta Hipp was not one of the artists mentioned in the film. After the Jutta Hipp records, what’s the next highest priced record by a female artist in the Jazz Collector Price Guide? Take a guess. Hint: It’s not one that I thought of.

Taking a Chance on Phil

Al — Fri, 10 May 2013 12:04:59 +0000

Ever since I bought that big collection last summer I’ve been very circumspect about buying more records. Something about absorbing a couple of thousand records into the collection has made it less compelling to buy more. Anyway, being circumspect doesn’t mean I’m not interested, I did, after all, purchase that 10-inch Phil Woods record on eBay a few months ago and I did have The Lovely Mrs. JC purchase that beautiful Thad Jones Blue Note for my birthday. So I was perusing eBay and I came upon an interesting listing and it was this: Phil Woods, Woodlore, Prestige 7018. This is a record I’ve always wanted, just a great record from the era. The copy I have had for the past 25 years is a Japanese pressing with Japanese liner notes. Anyway, the listing was very interesting. The seller used the word “GOOD” to describe the record and the cover. In our normal parlance “good” means horrible. It’s the low rating you give to a record that may not even be playable. In this seller’s parlance, however, I got the feeling that “good” may have meant really good, like VG+ or better. The seller doesn’t seem to be a record dealer and he/she seems to be covering his bases and trying not to oversell the records. Anyway, the bidding was sitting at about $150 with a less than an hour to go on the auction, and the gambler in me took over andI decided, what the hell, it’s worth a shot. So I put in a snipe of about $250 figuring I’d have a good chance at getting the record and, if worse came to worse and the record was not in good shape, at least I’d have something to write about. I was surprised to see that the record sold for $382. I guess there are bigger gamblers out there than me. I have a feeling the winner of this record is going to be quite pleased.

Someone Is, Indeed, Out To Lunch

Al — Thu, 09 May 2013 10:41:40 +0000

One of our perplexed readers sent me this: Eric Dolphy, Out To Lunch, Blue Note 84163. This was in M- condition for the record and VG++ for the cover. It sold for $93, okay for a stereo copy. Except this was not a New York USA pressing or even a Liberty. It was a United Artists pressing, circa the mid-1970s, early 1980s. This happens once in a while, doesn’t it, where these United Artists pressings fetch collectible prices. The buyers are either 1. ignorant; 2. careless; 3. desperate; or 4. all of the above.

This one also came in from a reader, perplexed I think as well, from the high price considering the condition: Hank Mobley, Blue Note 1568. This was a not-quite-original original because the picture clearly shows the absence of the New York 23 on the label. Beyond that the record is graded VG+, with an audible ticking noise, and the cover was graded VG to VG+. It sold for $2,500.