Some Surprises From Jazz Record Center Auction

gerry mulligan jazz vinylOur friends at the Jazz Record Center had an auction last week and here are some of the results:

Gerry Mulligan Meets Johnny Hodges, Verve 8367. This was an original pressing with the trumpeter logo and it was in M- condition for both the record and the cover. I was surprised to see this one sell for $148.37. Neither Hodges nor Mulligan is typically all that collectible, and this is one of the later Verves among those with the trumpeter logo. Any theories as to why this would sell for nearly $150? Is the market shifting back to Verves a little?

I’ve never seen this one before: Charlie Parker and Dizzy Gillespie, A Nite at Carnegie Hall, Black Deuce. This was the full set of 78s capturing the historic September 29, 1947 concert. As noted in the listing, this was a pirated record release, but it was the first of the issues in any form. The set looked to be in excellent, near mint condition. They sold for $688.

This one almost made it into the $2,000 bin:

Sonny Rollins, Saxophone Colossus, Prestige 7079. This was an original New York yellow label pressing that looked to be in M- condition for both the record and the cover. The final price was $1,913.

Another Prestige favorite: Webster Young, For Lady, Prestige 7106. This was also an original New York yellow label pressing in M- condition. This one sold for $676.

This is one of the great post-bop records of the era. Is it really only a $40 record these days: Clifford Brown and Max Roach at Basin Street, Emarcy 36070. This was an original pressing with the drummer label. It looked to be in M- condition for the record and probably VG++ for the cover. It had just one bid and sold for $40. Put the same music on Blue Note and what do you have?

 

 

 

 

 

 

17 comments

  • Al : You have “the price of one Starbucks coffee a day for the next couple of years to own the recording” 😉

  • Gregory the Fish

    michel: not sure if you’re ribbing or not, but i actually liked that logic.

  • On the SaxCol description:

    “Track 2 (“Blue Seven”) has six light, non-repetitive tics”

    I would not call that a M-

  • Classy, Michel… C

  • On another note – that Emarcy 36070. That rec demonstrates how firmly bebop had become established in the work of younger musicians. Brown’s death was a loss from which neither Roach nor bebop recovered. Really sad.

  • Well well Caroline…I think that Roach actually recovered from Brown’s untimely death by supporting other young and talented musicians, like BooKer Little – And by playing other kind of sounds, for instance in “Percussion Bitter Sweet” or “We Insist”. He actually remained a leading force in Jazz, years after Bebop.

  • Once again Michel, you read, but neither digest nor understand. Of course Roach went on as a musician – what else could one do? I am referring to the close personal relationship that Brown and Roach shared. Having said that, The Brown-Roach Quintet was the last impressive harvest of the bebop era IMHO. All I’m suggesting is that the group’s great promise was never fulfilled because Brown (the most gifted trumpeter since Navarro, by whom he was greatly influenced) was killed in a car crash on the Pennsylvania Turnpike along with the band’s pianist (Bud Powell’s younger brother Richie) not long after they made this record. Brown was only 25 years old.

  • I sold the Mulligan Hodges in October for $180. The market has its ups and downs.

  • I think the Mulligan-Hodges is a nice album with a very enticing cover. And, you don’t see it around too much (as compared to other Hodges and Mulligan albums). Plus, Rabbit has a bit of a cult following, no? (count me as part of the cult)

  • Looks like the Saxophone Colossus was relisted from a January auction. Perhaps it went unpaid, or perhaps someone wasn’t satisfied with the condition?

  • Clifford’s death was indeed sad, and a severe blow to the development of Bop, a form represented superbly in the Brown-Roach sides. To say that the group represented “the last impressive harvest of the bebop era” however is, IMHO, going a bit too far – can’t you find any impressive Bop after 1956, cher Caroline? Of course, much depends on your definition of Bop:
    “‘Bebop’ was a label that certain journalists later gave it, but we never labeled the music. It was just modern music, we would call it. We wouldn’t call it anything, really, just music.”
    —Kenny Clarke

  • “Once again Michel, you read, but neither digest nor understand”. Wow. My english will certainly not allow me to answer correctly to this. I think we here all know the history of Clifford Brown. Vous ne semblez guĂšre aimer la contradiction, (si tant est qu’il y avait une contradiction dans mes propos) : je dĂ©cĂšle Ă©galement une pointe d’arrogance dans votre façon de vous adresser aux membres de ce forum, qui n’ont pas dĂ©couvert l’histoire du jazz depuis votre arrivĂ©e. Cela est fort regrettable, mais sans doute imputable Ă  ce qu’il me semble ĂȘtre une confusion permanente entre vos certitudes – qui vous sont lĂ©gitimes- et certaines rĂ©alitĂ©s.

  • Si indiquant une opinion ferme provoque de nommer une personne comme «arrogante», alors peut-ĂȘtre que vous devriez suivre vos propres conseils et ne pas offrir commentaire sarcastique comme “…Al : You have “the price of……”

  • I hate to take sides in such a food fight; but I would have to agree (if with a bit of reluctance based on my less than perfect French) that Caroline does tend to be dismissive of arguments with which she disagrees; her statement that Michel “neither digest[s] nor understand[s]” was clearly invidious – and I think her opinion regarding Michel’s Starbucks comment seems overboard for what I saw as an innocent joke

  • Could everyone just take a deep breath and calm down please. We hate to see new friends go…..Thanks 😉

  • Absent for a while, I am amused by the quarreling of Caroline and Michel. Love hot pepper to my dishes.
    The essence of Al’s remark is that the quality of the music is not a criterium for the label freaks: EmArcy, apparently, is not “in” anymore. Let it be so, it gives excellent opportunities for neophytes to build a very nice collection of first class music.
    BTW: I have once seen a grey version of a 36070 DG drummer label. Seems to be original too, the only grey label in the EmArcy series. Comments anybody?

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