Paul Gonsalves, Boom-Jackie-Boom-Chick, Vocalion 587. This was an original British pressing that looks to be in M- condition for the record and VG++ for the cover. It sold for $1,593.88.

Lee Morgan, Candy, Blue Note 1590. This was an original pressing with the West 63rd Street address and it was in VG++ condition for the record and the cover. It sold for $1,578.99.

This was a surprise to sell for such a high price tag: Clifford Brown Memorial Album, Blue Note 1526. This was an original Lexington Avenue pressing with the framed cover. It was in M- condition for the record and probably VG++ for the cover. It sold for $1,567.

Jackie McLean, The New Tradition, Ad Lib 6601. This was an original pressing. The cover was VG+, but the record was in VG or worse condition, based on the seller’s description. It sold for $1,376.11.

Finally, here’s one we meant to include from the Jazz Record Center auction because it was actually in the $3,000 bin:

Tina Brooks, True Blue, Blue Note 4041. This was an original pressing that was probably in M- condition based on the description. It sold for $3,161.

Hank Mobley, Blue Note 1568. This was an original pressing of one of the rarest and most valuable of all jazz records and it was sold by the most reputable of all jazz sellers, the Jazz Record Center in New York. The record was in M- condition and the cover looked like VG++. We’ve seen this record sell for more than $5,000 in the past on the Jazz Collector Price Guide. Not this time. This one sold for a mere $3,362.

Presenting Ernie Henry, Riverside 222. This was also from the Jazz Record Center and it was an original white label pressing that looked to be in quite lovely condition, M- for both the record and the cover. This one sold for $510. Great cover, isn’t it? Perfection, really, with the great picture and his eyes closed and the scripted typeface with the finger pointing to Ernie. Love it. Great record too.

This seller had a few interesting records from the Prestige New Jazz label, including:

The Music of Ahmed Abdul-Malik, New Jazz 8266. This was an original deep groove pressing with the purple labels. It was listed in VG+ condition for both the record and cover and sold for $447, which seemed quite high to me. I have a Riverside record by Abdul-Malik with Johnny Griffin and I’ve had this record in the past but I have to admit I never listened to either. Perhaps I will change that later this weekend and put the Riverside on the turntable.

From the same seller was: Ken McIntyre, Looking Ahead with Eric Dolphy, New Jazz 8247. This was also an original pressing with the deep grooves and purple labels. It was also in VG+ condition. It sold for $122.50. Funny, I’d have expected the record with Dolphy to fetch a higher price than the Adbul-Malik record, but it wasn’t even close.

Coleman Hawkins, The Hawk Flies High, Riverside 233. From my experience, we don’t see too many Coleman Hawkins records garnering collectible prices these days. We only have a few mentions of Hawk in the Jazz Collector Price Guide. So I was surprised to see that the bidding for this record had already surpassed $150, closing later today. I was surprised again to see that the record was not an original pressing — it has the blue label as opposed to the white label. It is in nice condition, however, M- for the cover and the record.

This record was closing just as I was perusing, not that I would have bid on it: Charlie Mariano With His Jazz Group, Imperial 3006. This was an original 10-inch pressing in VG+ condition for both the record and the cover. It was sitting at $95 with three minutes left and wound up selling for $180. It also had more than 150 page views, which surprised me. Glad that people are still interested in 10-inch Charlie Mariano records.

Here’s a record that’s not graded and the description says that it plays great with minor surface noise in spots. No mention of the condition of the cover: Everybody Digs Bill Evans, Riverside 291. The auction is closing later today and the bidding is in the $150 range. For me, I’d rather have a little more information before plunking down $150 or more sight unseen for a record.

What are some of the other items we’re watching from the Jazz Record Center auction. Glad you asked:

J.C. Heard, This is Me, Argo 633. This looks to be quite a find and quite rare. It has the original SPLIT-PAK design, where the record enters from the cover. And it even has the original Argo postcard and EP sampler included. The record and cover are in M- condition. I, for one, have never seen a copy of this record before. The start price is $250 and so far there are no bidders.

Of similar ilk is Johnny Griffin Quartet, Argo 624.  This too has the SPLIT-PAK design cover and an original Argo postcard. The record is in M- condition and the cover is close to that, perhaps M- or VG++.  This also has a start price of $250 and no bidders as of yet.

Presenting Ernie Henry, Riverside 222. This is an original white label pressing and it looks to be in beautiful condition, M- for the record, probably M- for the cover as well. Again, the start price is $250 and, again, there are no bidders. There will be, I’m quite sure. Perhaps even me if things don’t get started.

Jutta Hipp, At The Hickory House Volume 2, Blue Note 1516. This was an original Lexington Avenue pressing that was in perhaps VG++ condition for the record and VG for the cover. It sold for $1,402.88.

J.R. Monterose, Blue Note 1536. This was also an original Lexington Avenue pressing. The record was VG+ and the cover was probably VG++. The price was $1,472.

John Jenkins With Kenny Burrell, Blue Note 1573. This was an original West 63rd Street pressing. The record and cover were both in VG++ or so condition. The price was $1,107.

Here Comes Louis Smith, Blue Note 1584. This was an original pressing in VG++ condition for the record and M- for the cover. It sold for $1,025.

Four Blue Notes, four $1,000-plus jazz records. Whew.

Dizzy Gillespie and Stan Getz, Diz and Getz, Verve 8141. This was an original pressing with the trumpeter logo. The record was in M- condition and the cover was VG+, although it seemed to have original shrink wrap. The start price was $29.95. There were no bidders. Really? When I started collecting this would have been a nice commodity, hard to find, great artists, great collectible label. And it’s got quite a nice cover to boot. Now it’s not worth thirty bucks? Wow. How about Stan Getz and Chet Baker, Stan Meets Chet, Verve 8263. This one says “trumpet logo” in the headline, but there’s no picture of the label so I actually have to wonder if it is original. The record was listed in VG++ condition, close to M-, and the cover was VG+. The price was $57.

Sal Salvador, Frivolous Sal, Bethlehem 59. This was an original pressing in VG+ condition for both the record and the cover. It sold for $75 and, frankly, I didn’t think it would get that much. Is there really still interest in Sal Salvador? Probably not. But there is interest, deservedly so, for Eddie Costa, and he’s a sideman on this LP. I would think Costa’s presence is the bigger interest here.

Oliver Nelson, The Blues and the Abstract Truth, Impulse A-5. Interesting that the seller listed it as a Bill Evans album. I guess there’s some logic, if you don’t really know the album. Evans is listed first on the cover. It’s not alphabetical — it looks like a graphic decision: The names are listed in ascending order in size, smallest to largest, so they stack like a pyramid. Anyway, this was VG+ for the record and cover and it sold for $140.50.

I didn’t realize this was a $200 record: Dorothy Ashby, Afro-Harping, Cadet 809. This was still sealed, had 12 bids and sold for $200 on the nose. Can’t recall that I’ve ever seen a Cadet record get that kind of price. Do collectors really want/value this record so much more than Diz and Getz? Guess so. Never been that big a fan of the jazz harp myself.

This is from a seller who has a bunch or rare original Blue Notes closing tomorrow, including: Sonny Clark Trio, Blue Note 1579. This is an original pressing that looks to be in VG++ condition for the record and the cover, based on how the seller describes his grading system. There have already been more than 20 bids and the price is now hovering in the $550 range. Here Comes Louis Smith, Blue Note 1584. This is also an original pressing. The record is VG++ and the cover is M-. The price is now $432. J.R. Monterose, Blue Note 1536. This is an original Lexington Avenue pressing.  It is listed in what seems to be VG+ condition for the record and VG++ for the cover. The price is now in the $300 range. There are more from this seller if you want to do a search.

This is from a different seller and is also quite appealing:

Walter Davis Jr., Davis Cup, Blue Note 4018. This is an original pressing as well and it looks to be in VG++ condition for both the record and the cover. The start price for this was around $600 and there is already a bidder, so this one will sell. Perhaps it will dip into the $1,000 bin.

Clifford Brown Quartet, Blue Note 5047. This was an original 10-inch Lexington Avenue pressing. The record was in M- condition and the cover looked like it was probably VG++. The price was $900.12. That’s the highest price we’ve ever recorded for this album in the Jazz Collector Price Guide.

Speaking of new highs, this was one from the recent Jazz Record Center auction: Grachan Moncur III, Some Other Stuff, Blue Note 4177. This was in M- condition and sold for $775.43. As we’re seeing pretty consistently, these later original Blue Notes are really increasing in value. I had sold a copy of this record for around $500 a couple of years ago and that was, by far, the highest price we’d seen up to that point.

Sonny Clark Trio, Time 70010. This was an original pressing rated VG++ for the record and VG+ for the cover, even though the headline stated it was M-. Pretty interesting/deceptive move by the seller. It sold for $699.99.

Look at the price on this original Riverside:

Kenny Drew Trio, Riverside 224. This was an original pressing with the white label. The record was rated in VG++ to M- condition but the cover was only fair. The price was a whopping $637. I’m sure even the seller was surprised. Happy, but surprised.

Dizzy Reece, Blues in Trinity, Blue Note 4046. This was an original pressing with the deep grooves, West 63rd Street address, etc. It was listed in M- condition for both the record and the cover. It sold for $634.99.

George Wallington, The New York Scene, New Jazz 8207. This was an original pressing with the purple label and the deep grooves. The record was described as looking VG but playing much better, which is often the case with these LPs that were pressed on heavy vinyl in the 1950s. The cover was VG+. The price was $218.50. With some records, you never forget exactly where and how you purchased them. This is one of those records for me. I was in one of my favorite record stores on Long Island, years ago, and there was a 25 cent discard bin. I usually ignored it because it was mostly junk in poor condition. This one day I happened to look through it and, boom, there was this record. I pulled it out, figuring it must have been either cracked or completely scratched up. It was in perfect mint condition. Somebody made a mistake. Whenever I’d go into that record store after that, I’d always make sure to check the 25 cent discard bin. And, wouldn’t you know it, a couple of years later I found an original Prestige Bennie Green LP, also in nice condition. I still have both records in my collection.

Jackie McLean, Capuchin Swing, Blue Note 4038. This was an original deep groove pressing and was listed in VG++ condition for the record and M- for the cover. It sold for  $407, which is a little bit surprising because we’d expect this record, in this condition, to fetch more than that. Although, to be fair, the $407 is the highest price we’ve seen for this in the Jazz Collector Price Guide. So, the question is, why does this record, an excellent record indeed, not get the same prices as some of the other rare Blue Notes of the same era?