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.

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 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.

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.

Tommy Flanagan, The Cats, New Jazz 8217. This was an original pressing with the purple label and the deep grooves. It features John Coltrane. I haven’t listened to this record in a few years, but my recollection is that it’s not among Trane’s better efforts, but I should go back and check again. Nevertheless it is a New Jazz and it is Trane and Flanagan and it is thus an important collectible. This one was listed in excellent condition by the seller, which I took to mean about VG++. The price was $404.99.

This one was from the same seller and also looked to be in excellent VG++ condition: The Magnificent Thad Jones, Blue Note 1527. This was an original Lexington Avenue pressing and sold for $869.99.

Speaking of Blue Notes, as we so often do at Jazz Collector, here are a couple of 10-inch Blue Notes we were watching:

Clifford Brown, New Star on the Horizon, Blue Note 5032. This was an original pressing that looked be in at least VG++ condition. The price was $338.89. Jutta Hipp, Jutta, Blue Note 5056. This was an original Lexington Avenue pressing as well and it was in VG+ condition for both the record and the cover. It sold for $302.

This one I haven’t often tracked as a collectible, even though it’s one of my all-time favorite records, simply because it normally doesn’t fetch collectible prices: Cannonball Adderley and Bill Evans, Know What I Mean?, Riverside 9433. Perhaps the collectible status is changing: This was a stereo pressing in VG++ condition for the vinyl and VG+ for the cover and it sold for $114.49.

Johnny Griffin, The Congregation, Blue Note 1580. This one looked to be an original pressing. The listing doesn’t mention deep grooves, but they are clearly visible in the photo. The record was listed in M- condition and the cover was VG++. The price was $1,091.77. That’s a high price, to be sure, but with what’s happening in the Blue Note market lately and the market for Andy Warhol covers, I’m frankly surprised it didn’t sell for more.

Bill Evans, Waltz For Debby, Riverside 399. This was a white label promo copy, which looks quite cool. The record was in mixed condition: Side 1 was listed as VG++ and side 2 was listed as VG. When I have a record like that, I tend to go with the worst-case scenario and rate it VG. The cover was listed as VG++. The price was $790.

“Greetings! The Cannonball/Evans LP is a favorite of mine, just beautiful. Thought you would like this review I wrote some time back for a Martin Logan owner Website under my other alter ego, Miles Ahead. – ceedee

The month of February, 1961 was a busy one for Bill Evans. It saw him finish a recording session with his critically acclaimed trio – that with Scott LaFaro and Paul Motian – which was issued as Explorations (Feb. 2)), bolster a date rightfully called a classic by any measure, Oliver Nelson’s Blues And The Abstract Truth (Feb. 23) and also find the time to accompany his old bandmate from the Miles Davis Sextet, Cannonball Adderley. Cut on Feb.21, this was one of three sessions that would eventually yield Know What I Mean? for Riverside. It does not match up to the other dates mentioned (how many records could?), but proves itself worthy of a listen and not just for the Bill Evans fan (not that there’s anything wrong with that!)

Cannonball and Bill were ‘simpatico’ while with Miles — the seminal Kind Of Blue was not yet two years behind them – and their musical bond continues here. Evans’ Waltz For Debby leads off the date, an interesting choice. Nearly six months before

the Sunday At The Village Vanguard recordings that would popularize the tune amongst the jazz public, it was leading off an album by another musician who surely had a large book of his own compositions to choose from. Clearly, a measure of the respect that Adderley held for both the tune and its composer.

Both artists shine on Debby and it’s a kick hearing Bill’s loving intro give way to Cannon’s alto. Adderley is in a singing mood and there’s a point towards the middle of his solo where he plays a motif that laughingly reappears as the intro to Evans’ own brief, logically structured exposition. This track left me wanting more Bill Evans – always a good thing. Incidentally, this disc – a Japanese issue – has only the tracks first put out at the time. More current releases of the session have an alternate version of Who Cares? The sound itself is acceptable, but typical of the period – muffled drums, etc. (at least, as far as Riverside is concerned!) This is one to get for the sounds…not the sound!

The rhythm section is bolstered by half of the MJQ — Percy Heath and Connie Kay – and  their lock-step precision is, in a way, what enables both Evans and Cannonball to soar above the fray. This they do on the up-tempo Who Cares? and Toy, a Clifford Jordan tune that should be played more often. Nancy (With The Laughing Face) and the mournful Goodbye remind the listener that some of Cannonball’s most memorable ballad performances were recorded while Bill Evans was at the piano. Lastly, check out Venice, a gorgeous piece by John Lewis that is the proverbial melody in search of a lyric! Any lyricists out there? Percy Heath’s ‘deep’ chordal intro leads to Cannon’s alto, which has as restrained – and intimate – a sound as he’s ever recorded. He never strays far from the melody line, while Evans toys with it just a bit, playing like someone standing on the edge of a beach, sticking one toe in at a time as the water recedes. The tune ends before either Evans or the attentive listener (that’s us), gets any wetter!

Yes, February of 1961 should have been a rewarding time for Bill Evans personally as well as artistically. Yet, images from the period show a gaunt, pale figure — sunglasses affixed – which reminds us what he was also dealing with at the time: Personal demons that were never far away, regardless of his creative success.

In spite of it all on Know What I Mean Evans was able to again prove himself the perfect foil for Cannonball Adderley. It was also a period of private trials and challenges, although the moment of his most difficult trial — the tragic death of Scott LaFaro – was only a few months away.”

30th anniversary of his death at the age of 51. I appreciate it when the general press writes about our jazz heroes, particularly someone as under-appreciated as Evans, because perhaps it can inspire someone new to listen and hear the remarkable beauty and innovation of the music. And, with Evans, it is still amazing how powerfully personal his music holds up today, which is one of the points of the article. Anyway, I wanted to share this with you all and if it inspires you to put some Evans on the turntable, perhaps some Evans with Cannonball, then I know it will brighten your day and put a smile on your face.