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.

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.

John Coltrane and Milt Jackson, Bags and Trane, Atlantic 1368. This one, which me mentioned the other day, was signed by Coltrane, Jackson and Hank Jones. It sold for $758. Others: Miles Davis, Early Miles, Prestige 7168. This record is an early reissue, with a yellow label. This also has autographs By Miles Davis and Sonny Rollins. It sold for $377. 89. This is not a record we track often in the Jazz Collector Price Guide because it is not an original but, suffice to say, it would not normally  sell for that amount sans autographs. One more: Duke Ellington, Such Sweet Thunder, Columbia 1033. This was an original pressing signed by Ellington. It sold for $191.38. Under normal circumstances, no autograph, this is really like a $10 or $20 record.

How much would you like a John Coltrane autograph? I know I would. This is from the Jazz Record Center: John Coltrane, Bags and Trane, Atlantic 1368. This is listed as an original mono pressing with the red and purple labels — although, for the live of me, I still can’t get the original Atlantics straight once they are past the black labels — but the key to this record is that it is signed by Coltrane, Milt Jackson and Hank Jones. The record and cover appear to be in about VG++ condition. The price is around $750 with more than two days to go. From the same auction is a Jazz at the Philharmonic program from 1956 with a bunch of cool autographs, including Dizzy Gillespie, Stan Getz, Connie Kay, Milt Jackson, Roy Eldridge and Flip Phillips. There’s one bidder for this one, so far, and the price is $100.

I was browsing through jazz vinyl eBay listings and saw the words “insanely rare” and figured the controversial (at least here at Jazz Collector) seller bobdjukic was back in action, and he is. This insanely rare record happens to actually be insanely rare, if rarity can be coupled with insanity: Jutta Hipp, New Faces, New Sounds From Germany, Blue Note 5056. This is the original 10-inch Blue Note that looks to be in VG++ condition for the record and the cover. The current price is $528 and there are still five days to go. Perhaps we’ll get an insanely rare price for this insanely rare record.

Thelonious Monk, Brilliant Corners, Riverside 226. This was an original pressing with the white labels. It was listed in VG+ condition for the vinyl and VG++ for the cover and I recall the seller as being very reputable from previous dealings, as buyer and seller. As I was packing my records to move, I noticed that my copy of Brilliant Corners was a blue-label pressing and it was in maybe VG+ condition. I put this one on my watch list to potentially bid on it, not just as potential fodder for Jazz Collector. I think I would have gone to at least $180 for an original pressing. This one sold for $100, so I missed out.

I also had my eye on this for my own collection, but I knew the price would go way beyond my comfort zone — and it did: Lee Morgan Sextet, Blue Note 1541. This was an original Lexington Avenue pressing and the vinyl was in M- condition. The cover was VG+. It sold for $1,475. One of these days I’ll find a reasonable copy for the right price. Right?

There was also a big auction from the Jazz Record Center, including: Toshiko Akiyoshi, Her Trio and Her Quartet, Storyville 918. This was an original pressing that looked to be in M- condition for both the record and the cover. I love the cover. I’m not an art expert, but is that Miro? The record sold for $260. I’ll take a look later at some of the other records from this auction and do another post.

This one sold for top dollar, right: Herbie Hancock, Inventions & Dimensions, Blue Note 4147. This was an original mono pressing with the ear, Van Gelder and New York USA address on the labels. It was in M- condition for both the record and the cover and it sold for $449.

John Jenkins and Kenny Burrell, Blue Note 1573. This is an original pressing that looks to be in M- condition for both the record and the cover. The start price on this was $1,000 and there is a bid on it, so it will be sold and will enter the virtual $1,000 bin.

John Coltrane, Giant Steps, Atlantic 1311. Here’s a more clear explanation of this than we’ve heard before. Jazz Record Center refers to this as the “pinwheels” label, although we’ve most often seen it described as “bulls-eye.” It is described as an “original deep-groove second press,” which kind of makes sense. It’s still valued among collectors, even though it is not a first press. This one looks to be in M- condition for the record and the cover and is already at more than $170. Speaking of original Coltranes on Atlantic: John Coltrane and Milt Jackson, Bags and Trane, Atlantic 1368. This is an original mono pressing with the red and purple labels, although I’m still not 100 percent sure how to distinguish it as a first pressing. This one is in M- condition and so far there are no takers at $50.

Blue Note stereo pressings don’t usually have the cachet — or value — of mono pressings. Case in point: Joe Henderson, Inner Urge, Blue Note 84189. This is an original stereo pressing in M- condition for both the record and the cover. It’s in the $100 price range at this point. As we saw earlier this week, a mono pressing of Henderson’s Page One sold for $2,000, although we still think that is a weird aberration.

Paul Chambers, Bass on Top, Blue Note 1569. This is an original West 63rd pressing and it is in M- condition for both the record and the price is $338. Tempting, but not for now.

Vinyl Coverings, by Bill Schweitzer

The Blue Note Original Record Guide

Some mention of Blue Note Records appears in almost every column I’ve written for the IAJRC,. It is the single most discussed, collectible, and expensive LP label in jazz. There are Web sites and books dedicated to the music, packaging variations, photography and history. The nature of an “original” issue, with seemingly unending anomalies, has been debated in minute detail. Not without cause. An “original” can fetch astronomical prices on Ebay and elsewhere. So, if you’rebuying or selling, it’s important to know what is or isn’t a true “original.” Help has arrived.

Fred Cohen, long time IAJRC member, has just published  “Blue Note Records: A Guide For Identifying Original Pressings”, a Jazz Record Center Publication. At $45 it’s available at Jazz Record Center, 236 west 26 Street, #804, NY, NY 10001, or on the Web at jazzrecordcenter@verizon.net.

It’s been a long time coming and worth the wait. The objective of the book is to be a guide for determining original pre-Liberty issue Blue Notes (to BST 84252). With much acknowledged help, Fred has succeeded admirably. For 90 percent of the catalog, we now have a definitive model of what is an original issue. This is a great tool for sellers and buyers alike. However, it may also bring tears to the eyes of some folks who paid big bucks for a record only to find

it’s not an original. As for the other 10 percent of the catalog, mystery remains. Like the nature of the universe, some things are unknowable. More on that later.

The heart of the book is 30 or so pages dedicated to a numerical listing of the 1500-4000 series in both mono and stereo with column listings for the reader to see the nine or so variations in vinyl, dead wax notation, label, cover and back that must be present in an original issue. Here are two  typical listings for the 1500 mono series

All Records are dg, P.

1543 – Lex, RVGe, fr / W63, f, bs, nl

1568 – W63-s1 NY23-s2, RVGs, br / W63, bs, lam

What?

Here’s the translation. All records have a deep groove label (dg) and a P mark in the dead wax (P) also known as the “ear”, indicating manufacture by the Plastylite company.

Blue Note 1543 = Kenny Burrell Volume 2 (one of the Andy Warhol covers – not indicated). An original issue must have a 767 Lexington Ave. NYC address on the record label (Lex). It must have Rudy Van Gelder’s initials etched in the dead wax (RVGe) and a flat edge or rim (fr). The cover must have a 47 west 63rd St., New York 23 address on the lower back (W63), a frame cover (f), a blank spine (bs) with no lamination (nl).

Quite a checklist. But if you’re paying hundreds of dollars for a copy of this rare piece, you’d like to know you’re getting the real thing. Now you can..

Blue Note 1568 = Hank Mobley Sextet, is one of the most expensive records in the Blue Note oeuvre. We’ll return to it later.

All the indicators are explained with clear photo examples (except for the flat edge which is achallenge to illustrate and is unclear). There is much ground to cover and many variations and permutations as the chronology of the label unfolds. For example, there are five variations in the label and six for the back cover addresses for original pre-Liberty Blue Notes. The column listings show which is the proper one at a glance. One drawback to this system is there is no attempt to put a name with the number as I just did. You cannot reference a title without a catalog number. I use the illustrated Japanese Blue Note book. Another IAJRC member, upon receiving his copy, proceeded to pencil in all the appropriate titles by hand. There are “work arounds”, but it would have been nice to have it already done. Then again, what is a bible without notes in the margins.

Two other minor points. Fred states on page 49 “All mono pressings use a BLP prefix on the cover and labels.” Not so. Labels yes but covers no. And then, why put a reissue label on the cover of a guide to identify original issues?

The biggest surprise for me was the elevated status of the stereo issues. Long considered secondary mixes and re-issues at best, Fred, with the help of Rudy Van Gelder’s cogent contribution, shows the early stereos as true originals, recorded in stereo and mixed from an original 2 track tape. The problem was the inconsistent release of these titles. Lots were never released pre-Liberty and some released months or years after the mono. Fred’s careful plotting of their history clears up much of this confusion.

Now to the mysterious 10 percent of the catalog. The questions revolve around the manufacturing process. They are in two distinct categories. First there are the label anomalies during the many transition periods. As Fred points out in his preface: “Like so many record producers…(Blue Note was) frugal, wasting nothing in the manufacturing process”. This led to many mismatched details.

If we return to Blue Note 1568 this problem may become clearer. An original issue has a 47 West 63rd st. address on side 1 and the earlier 47 West 63rd St. New York 23 address on side 2. RVG stamped in the dead wax and a beaded rim. The cover has the West 63rd St. address on the lower edge, a blank spine and laminated cover. The problem is with the label. It is generally thought that the total manufactured run of this title was a very small, 600 pieces. Hence the high collector’s price. However, there are many copies that turn up with both sides as W63. Since the press run was not big and there were no reprints, it stands to reason that this too is an original issue and the frugal boys at Blue Note put both labels randomly into the hopper. Most collectors agree with this analysis.

But what about a transition album with a much higher pressing run, like 1577, John Coltrane Blue Train? That’s listed as NY23 on either side but not on both. Again we are confronted with a mixed bag of labels. Could it be that there was also an original pressing with W63 on both sides? Since the labels were mixed at the first run, it seems highly likely. As Fred points out “ In the pressing plant, the labels were applied at random”. Unfortunately, with a piece as popular as Blue Train, there were many re-pressings and while it is possible a 2 sided W63 is an original, it could also be a second edition. One cannot tell. I recently came across a shop selling a two- sided W63 issue for $450. They had previously sold a NY23 label issue, in comparable shape for $1,000. It’s quite possible that both are originals, but we cannot be certain about the $450 item.

The second question revolves around the deep groove. It is accepted as a definitive marker of all original issues up until 4058. Afterwards it is believed the Plastylite company bought new equipment which did not leave a deep groove in the center ring. We now have a situation that can only be resolved with a crystal ball. It stands to reason that Plastylite used their new equipment first, but why are there so many deep groove issues with later numbers? Many of these have a deep groove on only one side. Were there two presses used? Were there two press runs? Are the deep groove issues actually second pressings ? It seems there is no one at the old Plastylite factory who had any experience pressing records, so these questions must remain unanswered.

In his columns, Fred lists all of these deep groove variations as markers for original pressings. However, in his essay on Transition and Original Pressings he states “ After a certain point, it can never truly be known whether similar pressings for the same record, whose only difference is the presence or absence of a deep-groove on one, both or neither labels is actually the original first pressing.” Since most collectors gravitate to early markings, those single-sided deep groove pressings have enjoyed a not-so-well deserved reputation as original issues. Personally, I think the originals don’t have the deep groove (and most times are cheaper!). But now, this is for the buyer to decide.

Like most everyone who gets this guide, my first stop was my personal collection. There were some tears (actually, more than some) and at least one big surprise when a later issue (BLP 4193 Art Blakey Indestructible) I always thought was a re-issue (no P) turned out to be an original. I found myself replaying some of my second issues to see if I was still happy with the sound.

Unfortunately, this book added some unexpected items to my want list. On Ebay there are many Blue Note titles falsely claiming to be original issues. Whether from ignorance or perfidy is not important to the buyer. Now, you can check the pictures of the label or back cover for tell-tale markings of a 2nd press. You can ask the right questions. An informed buyer is a powerful buyer. Let’s hope this guide has the power to significantly reduce the price of later issues which claim to be original. Maybe someday this book will be so ubiquitous that Ebay listings will claim to be 100 percent Cohen Original!

So what do you do when you’re at a shop and you don’t have your trusty guide? There is a one page summary of important transitions. Try and remember as many as you can. But, if you’re like me and have trouble remembering anything, a few main points are:

1- deep groove to 4058.

2- Look for the P (ear) on every issue to 4193 and most thereafter to 4226.

3- Check to see the RVG in the early numbers (etched then stamped) or the Van Gelder in the later.

As we have seen, the labels can be inconsistent, but the dead wax should be true. In the end, we should all remember, it’s the music that must shine through. Lee Morgan’s trumpet should pop. Jackie McLean’s sinewy alto should mesmerize. If the music is clean and clear, and you’re happy with the sound of your copy, whether it’s an original, a New York Inc. labeled second, a UA issue, a Japanese King facsimile, or Mosaic re-issue, that’s what’s important. Happy Hunting.

Art Blakey, The Jazz Messengers at the Cafe Bohemia, Volume 1, Blue Note 1507. This is an original Lexington AVenue pressing with the deep grooves, frame cover, flat rim. It looks to be in M- condition for the record and probably around VG+ for the cover. The start price on this is $100 and as of now there are no bids at all. No bids on this one yet either: Clifford Brown Quartet, Blue Note 5047. This is an original 10-inch pressing that looks to be in M- condition for both the record and the cover. The start price is $250. This one, no surprise, is getting some action: Tommy Flanagan Overseas, Prestige 7134. This is an original pressing that looks to be in M- condition for the record and at least VG+ for the cover, but more likely VG++ to M-, depending upon how you look at things. This one is already more than $1,000 and I’ll be surprised if it doesn’t make the $2,000 bin, but I won’t be shocked, since this seems like a bit of a soft time in the market.

Here are a few from the Jazz Record Center auction: Kenny Dorham, Quiet Kenny, New Jazz 8225. This one was in beautiful condition, M- all the way around. It sold for $2,380.99. Sonny Clark, Dial S For Sonny, Blue Note 1570. This was another beauty that was M- for the record and probably VG++ for the cover, depending upon how you view things such as small splits and slight wear. It sold for $2,039. Kenny Dorham, Afro-Cuban, Blue Note 1535. This was in M- condition for the record and somewhat less for the cover. The price was $1,613.88. And the big one: Hank Mobley, Blue Note 1568. This was an original pressing in M- condition for the record and between VG++ and M- for the cover, depending upon how you grade such things. The price was $3,618.

Here’s a $1,000 record that was not sold by the Jazz Record Center:

Lou Donaldson, Wailing with Lou, Blue Note 1545. This was an original pressing in M- condition for the record and VG+ for the cover. It sold for $1,006.99.

Eric Dolphy, Outward Bound, New Jazz 8236. This was an original purple label pressing with the deep grooves. The record was in M- condition and the cover was VG++. The price was $465.

Phil Woods, Woodlore, Prestige 7018. This was an original New York pressing in M- condition for the record and VG+ for the cover. It sold for $493.88.