Here are some of the results from the Jazz Record Center auctions we were watching, including the one with the cover that has some of our readers weirded out. Let’s start with Kenny Dorham Quintet, Debut 9. This is an original 10-inch pressing, quite rare, that looked to be in M- condition for the record and VG++ for the cover. It sold for $960.
Charlie Mariano, Mariano, Bethlehem 1022. This was another 10-inch record from the collection of Tom Stewart and like the others the record was in M- condition and the cover probably VG++, with the owner’s name written in ink. This one sold for $355.
Now for the one with the weird cover, Red Mitchell, Happy Minors, Bethlehem 1033. This was from the same collection, M- for the record, VG++ for the cover. It sold for $333.88. So far I haven’t found a copy in my own collection. If I didn’t buy it originally for $50, I can say for pretty sure that it was because of the cover. Not one of my favorites, to be sure.
Speaking of covers, check out the next listing, and we will show a picture of the cover below:
Let’s catch up on some of the rare jazz vinyl records we’ve been watching on eBay, starting with: Charlie Parker, Bird Blows the Blues, Dial 1. This is the first 12-inch jazz record ever and it was issued without a cover. It usually fetches a nice price when it lands on eBay, and this one was no exception. It was in VG+ condition and sold for $1,643.49. There were only two bids, which always makes me a bit suspicious when a record sells for this much money. It’s usually a bidding war that drives prices this high.
This is one that’s new to me, but it got a huge price: Rosemary Squires, My Love is a Wanderer, MGM 3597. Looks like this one was in M- condition for the record an the cover, other than a cutout hole on the cover. Rosemary Squires was a British pop star, and I’m not quite sure what makes this record so valuable and so desired by collectors, that they would drive the price all the way up to $1,580.55. I’m sure someone out there will be happy to enlighten me.
Here’s another for the $1,000 bin:
Tommy Flanagan, The Cats, New Jazz 8217. This was an original pressing in M- condition for the record and cover. It was also a review copy. It sold for $535. I’ve had this record for a while. I traded it for it years ago: I had a broken leg at the time and was stuck in my friend’s basement with all of his records, Blue Notes, Prestiges, the whole works. I was very good and just looked. In my collection I have this one with my Flanagans, although the temptation is to put it with the Coltranes. I’m often reorganizing, so maybe I’ll move it around some day.
This is one of my favorite jazz collectibles, although it’s not jazz vinyl: To Bird With Love, by Francis Paudras. This is a book from 1981, about the most loving tribute to Bird you could find this side of Irving Kalus’ Ornithology. As noted by Fred in his listing, which you should take a look at, the book was printed once with no more than 1,000 copies, probably 500. I bought this when it first came out, from Fred, and I’ve treasured it ever since. It now has a prominent shelf on my new shelves in The Berkshires. This one sold for $887.79.
The Miles Davis Columbia records with Coltrane, and even the next generation, are becoming more collectible it seems. The music is certainly uniformly great. Here are a few from the Jazz Record Center auction:
As promised, here is the paper written by Irving Kalus on Charlie Parker, dated December 22, 1949. I have to really admire that Irving caught on to bebop so quickly and ardently, and he recognized the genius and contribution of Bird. You can see that this paper is written with tremendous passion and feeling and probably some hyperbole that can be easily excused by the exuberance of youth. As Irving’s son Gary told me, Irving was a fan of Benny Goodman . . . well, read it and see. I’ve reprinted the entire paper below and I’m also attaching it as a downloadable PDF (Ornithology). It’s remarkably similar to the article I wrote in 1975, when I was 22 and had the benefit of 20 years of history after Bird had died. You can find my article here: An Old Jazz Collector Tribute to Charlie Parker. Irving was neither a writer nor jazz critic by trade, but he certainly had a gift for both and, from now on, perhaps forever, whenever anyone does a Google search linking on Irving Kalus, the names Charlie Parker and Irving Kalus will be inextricably tied together. It’s a nice thought and a pretty apt tribute, wouldn’t you say?
Jul 26, 2012 Jazz Memoirs
Irving Kalus was 82 years old when he died on December 22, 2011. It was early in the evening and he had just gone to the record store around the corner, Infinity Records, in Massapequa Park on Long Island. He bought a Miles Davis record and was crossing Sunrise Highway when he got hit by a car and was killed instantly. I didn’t know Irving Kalus personally, but I seem to know him quite intimately now, at least in connection with one particularly important area of his life: His love of jazz. It was Irving Kalus’ collection that I purchased a few weeks ago and I would like to share what I have learned about the man and his life-long passion for jazz.
Irving fell in love with jazz when he was a teenager. His son Gary remembers him telling stories about musicians he had met – the time Sarah Vaughan kissed him on the cheek, the times Dizzy Gillespie would talk with him outside a club before or after a gig. Bud Powell once fixed him a drink: “He called it a Joe Louis because he said it will really knock you out,” Gary recalls his father telling him. Irving picked up on bebop quite early and it clearly had a profound influence on his life.
This is something I’ve wanted to do for a long time. When I was breaking in as a journalist my first job was as the jazz critic for the Syracuse New Times, an alternative newspaper in Syracuse, NY. I did a bunch of interviews — Charles Mingus, Chick Corea, Larry Coryell, among others — record and concert reviews and other features. I once posted my Mingus Interview here at Jazz Collector. Most of the articles are long gone, not in my files, certainly not saved in any digital format — this was the early 1970s, nothing was digital then. However, I did save a copy of an article I wrote about Charlie Parker, which was timed to coincide with the 2oth anniversary of Bird’s death in 1975. I recently dug up the article and painstakingly retyped it into my computer and now it will be saved digitally forever and ever. And now, when people do a search of Charlie Parker and Al Perlman, I will forever be associated with Bird. It’s enough to put a big smile on my face, that thought. Me and Bird. I like it. Anyway, it’s a pretty well written article, if I must say so myself, but there are clearly youthful indiscretions and probably a little too much borrowing from Ross Russell’s Bird Lives, including the opening scene and some idle speculation that Bird got his nickname because he loved fried chicken. There are many stories to go with this article and how it got published — and how I got away with using the word “motherfucker.” But those are for another day. Oh, and I didn’t put that stupid headline on the article nor did I get to approve it. I’ve attached the article as a PDF to download for simple viewing. Here it is: Charlie Parker Article. I’m also going to see if I can post it below here without screwing up Jazz Collector and, to prove there really was an article to begin with, we have a picture of the original, from April 13, 1975. If you are going to comment, please be kind. I was only 22 years old at the time.
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Feb 22, 2012 Features
Glad to see there is still some collector interest in Charlie Parker. I had heard this theory, and once discussed it here, that there’s a window of about 50 years for interest in a performer/musician and after that period the people who actually could remember him are no longer around and the influence that he or she engendered, no matter how profound, would eventually fade or be forgotten in the afterglow of artists who succeeded them. This seemed particularly apt in the case of popular artists — a Bing Crosby or Fred Astaire, for example — but it also seems to have impacted the jazz world as well. You don’t get the sense that collectors and even aficionados today have the same esteem for, say, Duke Ellington or Count Basie or even Lester Young that collectors and aficionados had 20 years ago. I think about this a lot and wonder, not just about my collectible records (and their value), but about how history will treat earlier artists and whether their contributions will be remembered in the perspective of their era and the eras that came subsequent to their contributions. Artists like, say, Johnny Hodges or Art Tatum or even Dizzy Gillespie and Stan Getz (and no, I’m not just focusing on the Verve label, although those provide good examples). This came to mind because
Dec 1, 2011 Prestige
Here’s some of the jazz vinyl we’re watching now on eBay, starting with: Charlie Parker, The Bird Blows the Blues Volume 1, Dial 901. This is the original 1950 pressing and is, to our collective knowledge here, supposedly the first 12-inch LP ever. Based on the description, it sounds as if the record is in VG++ condition. I wouldn’t mind having a copy of this (which I don’t). This one closes in more than three days, is at a little bit more than $100 and has a reserve price, which has not yet been met. Hmmmmm.
From the same seller is Hank Mobley, Mobley’s Message, Prestige 7061. This is another one I once owned and now regret selling. This one looks to be in VG condition, perhaps VG+, but probably VG. It is about $120 with a few days left to go.
If it’s “insanely rare” it must be the seller bobjdukic, who is back with a bunch of records, including:
Apr 12, 2011 Features
Do you see a lot of live jazz anymore? I don’t. When people ask why, I kind of laugh it off and tell them that just about everyone I’d want to see is dead. Which, unfortunately, is pretty true, with a very few exceptions. I do still try to see Sonny Rollins whenever possible and perhaps a couple of others, but I no longer go to the Vanguard regularly or any of the other clubs in New York. Perhaps this will change when Mrs. JC and I make our long-awaited move to Manhattan, which is in the works (we hope). In any case, I bring this up because I did recently trek to Rose Hall in New York for the first time to attend a Jazz at Lincoln Center concert. The concert was billed as “Bird With Strings,” featuring Charles McPherson accompanied by a string section and playing the music from the original Charlie Parker Bird With Strings album. I like McPherson, a love Bird With Strings and I figured this would be a good opportunity to see some live jazz and check out the location. So how was it?
There was this one that came close to the $1,000 bin: Lee Morgan Sextet, Blue Note 1541. This was an original Lexington Avenue pressing that was listed in VG++ condition for the vinyl and VG+ for the cover. It sold for $919.
We were also watching a bunch of records from the seller bobjdukic, which is always an interesting pastime. In a way you have to admire his ability to promote a 1978 Savoy reissue of Charlie Parker as an original and get someone to pay a fairly decent collectible price. Case in point: Charlie Parker, The Complete Savoy Studio Sessions, a boxed set issued in 1978 by Arista Records. This sold for $112.50. This one seemed to get a fair price: Sonny Rollins With the Modern Jazz Quartet, Prestige 7029. This was a New York pressing with the yellow cover. An original first press would have the orange cover and the kakubshi cover. This one seems to
Lee Morgan, Lee-Way, Blue Note 4034. This was an original West 63rd Street pressing. The record was listed in M- condition and the cover was VG++. The price was $847, which is by far the highest we’ve seen for this record in the Jazz Collector Price Guide.
Kenny Dorham, Afro-Cuban, Blue Note 5065. This was an original 10-inch pressing that looked to be in very nice condition: The record was VG++ and the cover was M-, with a crisp, clear picture. The price was $811.91.
Doug Watkins, Watkins at Large, Transition 10. This was an original pressing that was listed in
Jackie McLean, The New Tradition, Ad Lib 6601. This was an original pressing, of course, and it was listed in VG++ condition. The price was $2,627. The seller was a collector from Japan, not a dealer. Haven’t seen that so often.
Jason did that story on Boston jazz the other day and, coincidentally, this record was available on eBay from Euclid Records: Charlie Mariano, The New Sounds From Boston, Prestige 130. This was an original 10-inch LP and it was listed in VG++ condition for both the record and the cover. With a few hours to go before the bidding closed, this record was sitting in the $30 range. I though I might be able to get it for a cheap price and , not owning a copy, it had quite an appeal for me. So I used my sniping software, which is BidNip, and I
Time to catch up on a few items. By now, most of you have probably seen what happened with those records we were watching from the Jazz Record Center. The Hank Mobley, Blue Note 1568 sold for $5,101, which is the highest price we’ve ever recorded for a jazz record at Jazz Collector. The previous high was $4,036 for a copy of Jackie McLean, The New Tradition, on Ad Lib. A lot of people have already commented on this one, so I don’t have much to add other than what I’ve often said: The market is the market and eBay reflects what the market will bear. This is the going rate for this record in this condition at this point in time. I was wrong, barely on a couple of my predictions. (1) I had opined that two of the other records from this auction would sell for more than $2,000 and only one of them did: Hank Mobley, Hank, Blue Note 1560, which is the one pictured here. This one sold for $2,347. The one that did not break the $2,000 barrier was:
As is our usual custom, we were perusing the jazz vinyl listings on eBay this evening and we happened to notice an unusually large number of interesting 10-inch LPs for sale, some of which we shall share with you henceforth, including:
Kenny Dorham, Afro-Cuban, Blue Note 5065. A beauty, no? This one is in M- condition for the record and what looks to be VG+ for the cover. The current price is around $225 and there are three days to go.
Here’s the next one up in the 10-inch Blue Note catalogue: Hank Mobley Quartet, Blue Note 5066. This is an original pressing, of course,and the vinyl looks to be M- and the cover somewhat close to M-. The current price is $338 and there are also three days to go.
Another 10-inch Blue Note? Why not. Here’s The Amazing Bud Powell, Blue Note 5003. This is an original pressing in M- condition for both the record and the cover. It is being offered by Euclid Records and is currently at about $115.
Here’s the one on the list that will probably sell for the highest price:
That last item on $1,000 records didn’t get much response, to my surprise, but Rudolf and Robert were definitely on track thinking about looking under “Mo” in their collections. Based on our quick and unscientific perusal of the $1,000 bin within the Jazz Collector Price Guide, these were the artists that come up with the most different records:
Guess what came in the mail yesterday? Remember that Jazz Auction in which I participated a few weeks ago. Well the records are here and now I can tell you how I did. Remember, I bid blind on these records, based on the written descriptions, and I gambled on quite a few of the packages. I was competing with a bunch of sellers/dealers who were at the scene and had the opportunity to physically view the records. Also, I paid an extra 17 percent above what I bid because that was the fee taken by the auction house. In any case, here are the results, part one of three: Live vicariously through me if you please. The prices listed below include the 17 percent extra fee, so they are the amount I actually paid for each package. Also, the listings as I describe them below are similar to the way they were listed in the auction itself.
Wes Montgomery, Full House. Price: $70.20. This is an original blue-label Riverside
Two of those Sonny Rollins LPs we were watching passed the $2,000 barrier: Sonny Rollins, Saxophone Colossus, Prestige 7079. This was an original pressing in near mint condition from a reputable seller in Italy. The final price tag was $2,850. Also: Sonny Rollins Volume 1, Blue Note 1542. This was an original Lexington Avenue pressing, also in near mint condition. This one sold for $2,025.22. Breaking the $1,000 barrier was:
Johnny Griffin, A Blowing Session, Blue Note 1559. This is an original West 63rd Street pressing that is listed in VG++ condition for both the record and the cover. When we looked at this item last night the top bid was only $99. We thought we might be able to steal it for a decent price and we put in a Bidnip bid of about $230. Alas, no such luck for Jazz Collector today. The record is closing in a couple of hours and it is currently at about $425.
This seller has been selling some very nice records that seem to be in absolutely beautiful condition, including this: Red Garland, High Pressure, Prestige 7209. This is an original pressing in near mint condition and, from the picture with the listing it looks absolutely pristine, the cover as well. The current
Johnny Griffin, The Congregation, Blue Note 1580. This was an original pressing with the West 63rd Street address and the cover illustration by Andy Warhol. It was listed in M- condition by a very reliable seller. The price was $1,875. The same seller also sold: Here Comes Louis Smith, Blue Note 1584. This also looked to be in nice M- condition for both the record and the cover. It sold for $1,275.
While we’re updating the $1,000 bin, here’s this one:
Wow, there was a real bidding war for this one: Charlie Parker, Dial 203. This was a 10-inch pressing sold by Euclid Records. The record was listed in M- condition and the cover was VG++. What would you normally expect this to sell for? I’d have said $400, maybe $500. If you look at the Jazz Collector Price Guide the range is $300 to $500 depending on condition, with one previous copy selling for more than $700. The bidding for this one started getting intense between two buyers at somewhere north of $800 and it skyrocketed all the way to a final price of $2,210. Not bad. By contrast, Euclid also sold copies of the following 10-inch Dial records by Bird: Charlie Parker, Dial 207. This one
Charlie Parker, The Bird Blows The Blues, Dial 901. This is purported to be the first 12-inch LP ever. It was issued as a promo for Dial. There are reports of only 50 pressings of this record, but, we’re sure that is part of the mythology. We’ve written about it before at Jazz Collector and we’ve also tracked pricing in the Jazz Collector Price Guide. Our top price in the past has been $2,850. It certainly does not come up on eBay very often. This one seems to be in pretty nice condition. When we first saw this last night, the price was around a hundred dollars and now it’s around $400 with six hours to go. We’ll see where it ends up. It is quite a rarity and
Here’s an interesting test: With this winnowing down of the jazz vinyl collection, are we still a collector or have we morphed into something else – perhaps a dealer-slash-collector-slash-aficionado or something other equally endearing term? Well, we have two copies of this pretty rare 10-inch record: Jay McShann, Kansas City Memories, Decca 5503. This record is noteworthy because it is the first studio recording of one Charles Christopher Parker Jr. Bird’s solos on The Jumpin’ Blues and (especially) Hootie Blues usher in a new era in jazz. It doesn’t get any better than that, does it? Both of our copies of this record are in pretty nice condition, but one of them has a bonus feature: An autograph on the back by
Gigi Gryce and Clifford Brown Sextet, Blue Note 5048. This was a beautiful copy in M- condition for both the record and the cover. The price was $579.
The Amazing Bud Powell Volume 2, Blue Note 5041. This was listed as VG for the vinyl and VG+ for the cover. The price was $90.97. As someone said in one of the comments recently, the Bud Powells seem to be in less demand than some of the other Blue Notes.
Elmo Hope Quintet, Blue Note 5044. This was listed in VG++ condition for both the record and cover, which is a classic. The price was $305.
Art Blakey, A Night At Birdland Volume 2, Blue Note 5038. This one was also in nice condition — VG++ for the vinyl and M- for the cover. The price was $305. 03.
And yet another Blue Note:
OK, the summer is over, the living is no longer easy, and it’s time to give away our latest free record: Charlie Parker Memorial Volume 1, Blue Note 12000. This is an original pressing with the deep red label and the deep groove. It’s not in mint condition, but it is quite nice and quite listenable. As we have mentioned many times before, all you have to do to be eligible to win our record contests is to post a comment on the Jazz Collector site — anywhere on the site — from the time the contest begins until it ends. The idea is to encourage visitors to comment on the site. The concept seems to be catching on: This time we have our highest number of eligible contestants, and the amount of commenting on the site is clearly growing (as is the overall traffic, by the way). Anyway, those eligible to win this week’s grand prize are:
Tags: Charlie Parker
Lots of Bird this week, which seems fitting, since yesterday would have been his 89th birthday (thank you to Colm O’Sullivan for pointing that out). Here’s a beauty: Charlie Parker, Dial 201. This is an original 10-inch pressing listed in VG++ condition for both the record and the cover. The current price is $565, which is higher than we’ve normally seen for these 10-inch LPs in the past. It’s nice to see Bird getting his due again in the collectibles market.
We had all that discussion a couple of weeks ago on J.R. Monterose. Here’s one of his rare records closing today: J.R. Monterose, Blue Note 1536. This one is an original Lexington Avenue pressing and is listed in VG+ condition for both the record and the cover. It is currently priced at $300. Here’s an update on those rare J.R. Monterose tapes