Tag: Atlantic Records

Mono or Stereo?

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Generally I prefer mono pressings of my records, if they are available. I tend to like the sound better and, to me, they are more authentic. There are exceptions, though, and I discovered one the other day. When I was in Academy LPs last week in Manhattan I noticed a copy of this LP: La Vern Baker Sings Bessie Smith, Atlantic 1281. This is a great LP, if you are not familiar with it, featuring a swinging jazz band including Paul Quinichette, Buck Blayton, Sahib Shihab, Vic Dickenson and others. Anyway, I knew that my copy at home was a stereo pressing and the one in the store was a mono pressing with the black label, an original copy, and the price was fair, $20 if I recall. So I purchased it thinking I would upgrade the copy in my collection. I got home, cleaned the black-label copy, put it on the turntable and felt there was something missing. So I took out the stereo copy and it sounded better: Fuller, clearer and crisper. I am not an audiophile and I

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On eBay: Blue Note, Transition & Hyperbole

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Was watching this later pressing to see if it would sell: John Jenkins with Kenny Burrell, Blue Note 1573. This was a United Artists pressing. The vinyl was in M- condition, but the cover had a corner clip. The starting price was $44.44 and there were no bidders. Not sure where the market is for these United Artists pressings. I do have a bunch of them and I’m planning to hold onto them. They sound fine, not like the original pressings, but not like the reprocessed stereo editions either.

Here’s an interesting one from our “friend” Bobdjukic: Don Byas, Tenor Sax Solos, Atlantic 11233. This is a 10-inch LP with an interesting cover. The listing notes that it is an uncredited David Stone Martin illustration and, I have to admit, it looks like one for sure. But when this seller says something is “absolutely certain” I tend to wonder. In this case, I think he’s accurate, but it would nice to get confirmation from one of the experts out there as well. The rest of the hyperbole in the listing is a true work of art. Here is some of the language: “One of the rarest jazz albums in existence,” plus “We are reasonably certain that less than four copies

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A Couple of New Ones For The Price Guide

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Here are a few items that don’t normally make the Jazz Collector Price Guide:

Sonny Rollins, The Bridge, RCA 2527. This was an original stereo pressing listed in M- condition by a very reputable seller who also owns the best record store on Long Island. Still, while this is an interesting record with an interesting history — the return of Rollins after his legendary practice sessions on the Williamsburg Bridge — it has never really been a collectible item, at least in terms of its selling price. Perhaps it’s starting to move up the ranks: This one sold for $90.99. Not quite Blue Note prices, but a collectible price nonetheless.

Here’s another one we normally don’t track:

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Some Odds & Ends: Konitz, Brubeck, Newk

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While we’re catching up on adding items to the Jazz Collector Price Guide, we figured we’d share a few more odds and ends with you. This is one you don’t normally expect to sell for more than $300: Lee Konitz with Warne Marsh, Atlantic 1217. This was an original black label pressing in M- condition and sold for $311. I have to give the seller a lot of credit for this one. He took an absolutely crystal-clear picture and he did a very nice job of describing the condition of the LP. It really catches your eye and makes you want the LP. Sometimes, presentation is everything.

Here’s one you almost never see going for a big price: Dave Brubeck Time Out, Columbia 8192. This was one of the most popular jazz LPs ever and

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A Sonny Clark Not For $1,000; Another Bulls-Eye

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Here are a few interesting records we’ve been watching the past couple of days:

Sonny Clark Trio, Blue Note 1579. This one looked to be VG++ for the record and mint minus for the cover. Given the prices of Blue Notes lately — and Sonny Clark Blue Notes in particular — this one looked like a cinch to join the $1,000 bin. It didn’t, but it sure came close: It sold for $909.

Back to John Coltrane, Giant Steps, Atlantic 1311. This is the one with the bulls-eye cover. While we’ve pretty well established that this is not quite a first pressing — that would be a black label — this pressing seems to be catching on with eBay bidders. This one was in what we would probably call VG++/VG++ condition and it sold for $457.50. To give credit to the dealer, he notes that it is not as desireable as the black label.

And another Blue Note:

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Watching The Next Tier: The Bidding Continues

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As I’m going through some of the items I’ve been watching on eBay, I’m actually finding less evidence than I expected of this supposed shift into a two-tier market. There is still a lot of high-priced bidding among the non-Blue Note labels and artists. Perhaps it’s just by comparison that the gap is widening because some of the Blue Note/Prestige prices have been skyrocketing lately. We’ll keep watching, but as you guys see evidence of a real drop-off in prices of second-tier labels, please post them on the site as a comment. Here are some items we’ve been watching that may give you an alternate view versus my comments and others of the past couple of days:

Red Mitchell, Bethlehem 38. This was an original red label pressing, deep groove. It was in M- condition for both the record and the cover. It sold for $190.93.

Lee Konitz with Marne Marsh, Atlantic 1217. This was an original black-label mono pressing. It looks to be generously graded at VG++. It sold for $149.99.

Here’s one that would support the theory of a developing two-tier market:

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More Today on Ebay: Jutta, Jazz West, Trane

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Here are a few more nice items to watch today on eBay:

Jutta Hipp at the Hickory House, Blue Note 1515. This is an original Lexington Avenue pressing. The record is in M- condition and the cover is VG+. The current price is $630. I’m keeping an eye on this because I have a copy in my collection in similar condition and I’m thinking about selling it. Perhaps I’ll offer it first on Jazz Collector before going to eBay.

Lawrence Marable, Tenorman, Jazz West 8. The record is listed as VG+ and the cover is VG. The current price is $360.

To this listing we say “ugh.” It’s another copy of John Coltrane, Giant Steps, Atlantic 1311. It’s quite reputable seller, but somehow this myth of the bulls-eye label is being perpetuated. The seller lists this as

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All Things Considered, Some Surprising Prices

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Time to catch up with some of the items we’ve been watching this past week. We will do this in a few posts throughout the weekend. We’ll start with some of those items sold by the seller bobdjukic, who’s clearly got something going on that enables him to get wacky prices as well as staggering numbers of page views.

We’ll start with Thelonious Monk, Monk’s Music, Riverside 1102. This was a later stereo pressing, with that gold stereo stamp that many of the Riverside’s carried. Clearly not an original, which was a white label mono. One time on eBay, an original copy sold for more than $3,000. We chronicled it on Jazz Collector and it created quite a stir. See here. In any case that price for a mono was an aberration, just as we feel the price here for a stereo is an aberration. This copy, in M- condition for the record and cover, sold for $413.55. The seller actually wrote this in his listing: “Monstrously rare stereo pressing, many times rarer than the mono.” Yikes.  The other amazing thing about this record: It had more than 1,700 page views in eBay. Yikes again.

Speaking of second pressings, there was the copy of John Coltrane, Giant Steps, Atlantic 1311. This was the one with the bulls-eye label, that was characterized as being of the same provenance as the black label. This record

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My Favorite Things: The Winner Is . . .

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Time to do the drawing for the winner of the great LP, John Coltrane, My Favorite Things, Atantic 1361. This is a near mint stereo pressing, not an original, but it sounds great and it’s one of the classics, despite the surprising criticisms from some of our favorite commentators. For me, this is a real favorite and one of the first records I fell in love with when I fell in love with jazz. I find the title track powerful and innovative and am a huge fan of the way Trane does “But Not For Me,” with an echo of his Prestige years, but the clear growth he had shown in Giant Steps. And then there is Everytime We Say Goodbye, which Mrs JC and I took for our wedding song. Speaking of Mrs. JC, here she is to select this week’s winner. As most of you know by now, the rules for our contests are simple: All you have to do to be eligible to win

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