Since I was away for so long, I’d like to catch up on some jazz vinyl auctions I missed, starting with a few from our friends at the Jazz Record Center. Let’s start with John Jenkins with Kenny Burrell, Blue Note 1573. This was an original pressing that looked to be in M- pristine condition. The final price was $1,382. This may sound weird, but that price seems a little low to me, considering the condition and the reputation of the seller. Just did a quick check over at Popsike and, indeed, this record has sold for more than $2,000 in the past. I have no theories to offer on this, particularly now that the Jazz Record Center accepts Pay Pal, but the market is the market and it often simple reflects who is bidding against whom at that particular time.
Back on eBay again after yet another unexpected absence, which are becoming all to frequent, unfortunately. Anyway, here’s some of the jazz vinyl we’re watching, starting with a pair of Byrds: Donald Byrd, Byrd in Paris, Brunswick, 87 903. This is an original French pressing listed in VG+ condition for the record and VG+ for the cover. Actually, the seller lists the record in VG++ for the record, but states that the audio quality is just VG+ with some background noise. Somehow, for me as a collector, I’d prefer that the record sound good as opposed to look good. Anyway, this one has a start bid of $349 and a buy-it-now price of $500, which is the top price we’ve seen for this particular pressing on Popsike. I don’t own this particular record, but I have a beautiful pressing of the other Byrd in Paris Brunswick record, the one with the picture of Byrd on the cover eating French Fries. That one has already broken the $1,100 bin. Not sure if it’s the music that is more enticing, or the cover.
The other Byrd is Byrd’s Eye View, Transition 4. The record looks to be in VG++ condition, based on the seller’s description, and the cover looks to be about VG+. There is also the booklet, which is described as being in “perfect” condition. Bidding is in the $525 range and, by the time most of you read this, the auction will probably be closed. This one is a regular visitor to the $1,000 bin, so I certainly won’t be surprised if this copy ends up there as well, considering the condition.
I’d like to get back to some of the records we were watching, starting with Duke Jordan, Flight to Jordan, Blue Note 4046. This was an original West 63rd Street pressing that was in VG+ or better condition for the record, and probably around VG++ for the cover. When we looked at it the bidding was in the $300 range and we were surprised it was that low, expecting it to eventually end up at or near the $1,000 bin. It did, selling for $960. So what may have seemed like an aberration, was just a product of later bidding, which has been de rigueur on eBay for many years, so no surprises. Same with this one: Doug Watkins at Large, Transition 20. This was an original pressing with the booklet. The record, cover and booklet were all in about VG+ condition. The bidding came in late, but about as expected, with the record selling for $809.
The seller Bullsite2000 has several interesting auctions closing today. I’m surprised at some of the bidding — at both levels, some higher than expected, some lower than expected. For example, Stan Getz, More West Coast Jazz, Norgran 1088. This is an original yellow label pressing listed in M- condition for both the record and the cover. The bidding has reached nearly $200, which is more than you would typically see for this record, which has never seemed to be one of the Getz records that has been particularly coveted by collectors. The seller took some nice pictures, and the condition does look pretty flawless, so there’s that. Then again there is Read more
This may be my last post for a couple of weeks. Taking holiday in Italy with The Lovely Mrs. JC. I still may do a post from there, you never know. In the meantime, Clifford has the keys to the kingdom until I return, and I do have a bunch of records I’m watching on eBay, starting with this one, which has already been mentioned by one of the commenters on the previous post: Duke Jordan Trio, Swing 32 323. This is an original 10-inch French pressing and it looks to be in M- condition all the way around, cover and vinyl. The bidding is now at about $1,000 and, as recently as last week we saw another copy sell for nearly $3,000. There are three days left on this auction, so there’s every chance this copy will approach or surpass that one. As you can see, it has a very Stone Martin-esque cover? Anyone familiar with the artist and his other work? Rudolf?
This one surprises me:
Catching up on some loose ends, Terry sent me a link to the following record: Duke Jordan Trio, Vogue Swing M33 323. This was the original French pressing of this 10-inch LP, which was listed in M- condition for the record and Ex for the cover. It sold for $2,939.99. As Terry said in his email to me, the prices of the French Swing records are getting top dollar and this would certainly support that, unless anyone thinks nearly $3,000 is a bargain for a Duke Jordan record.
While we’re in Europe: Hank Mobley, Mobley’s Message, Esquire 32-029. This is the original British pressing of the Prestige record. It was listed in Ex condition for the record and only VG for the cover. It sold for $337.44. I’ve been watching a lot of these U.K. pressings and they seem to be going up in value, particularly the early Prestiges. I can see why: The covers are cool and the pressings sound great. If I didn’t have an original Prestige — and in some case, even if I do — I’d be very happy to have one of these original Esquires.
Here’s another one:
Catching up on my jazz vinyl watch list on eBay. Here are some of the items I missed, starting with Blue Mitchell, Blue’s Moods, Riverside 336. This was an original pressing with the blue labels, reels and microphone logo, etc. The record was listed in M- condition and the cover was VG+. The final price was $540. I know that this record has always been prized among collectors and has gone for pretty high prices, as seen here — higher than most of the Riverside catalogue, except for perhaps Waltz for Debby and maybe one or two others. What I’ve never understood is “WHY?” I know it’s a nice record, but what is it about this particular record that has driven up its value over the years?
This is a Blue Note that’s also seemed to rise in value compared to other records released around the same time:
Forgive me for my lack of familiarity with this record and this artist: Fats Sadi, The Swinging Fats Sadi Combo, Blue Note 5061. I guess I must have seen this record somewhere on a discography or on The Blue Note Story, but, honestly, seeing this record on eBay, I thought it was a mistake. Then I did a Google search and Fats Sadi was a Belgian vibist who played with a wide range of artists, including Django Reinhardt, Don Byas and, later on, the Kenny Clarke-Francy Boland Big Band. I don’t know anything about this 10-inch record or how it came about that Fats Sadi recorded for Blue Note in the early 1950s. I do know that this copy of the record is listed in VG+ condition for the record and Ex for the cover and has a start price of about $80. With more two days left on the auction there are no bidders.
This one went for a pretty steep price:
If I had a want list, this record would be at or near the top of it: Lou Donaldson, Quartet, Quintet, Sextet, Blue Note 1537. This copy was an original pressing with the Lexington Avenue address that looked to be in M- condition for the record and probably VG++ for the cover. A very nice copy, indeed. When I first put the record in my eBay watch list, the price was less than $400 and I very briefly considered a snipe. But I knew that my highest bid wouldn’t even put me close. And I was right. The record sold for $1,437. So I will save $1,437-plus and also have my Japanese pressing for listening pleasure, so I have no complaints.
I’m surprised this one isn’t getting any more action with just one day left on the auction:
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 at Read more