Comments on: Back To Blue Note

By: Berne

Berne — Wed, 21 Mar 2018 07:57:23 +0000

That True Blue was indeed described as ‘there is a hairline and two handling marks on Side 2, Track 1 that produce a few unobtrusive soft tics,’ which makes me feel that it is VG++ rather than NM.

By: cellery

cellery — Tue, 06 Mar 2018 16:03:21 +0000

Surprise surprise, the 1568 promo’s back up on eBay due to a ‘transaction failure’, this time owing up to ticks on side 2 due to those scratches …

By: Michel

Michel — Fri, 02 Mar 2018 13:43:20 +0000

@GST more likely a copy / paste issue from a previous auction.

By: GST

GST — Tue, 27 Feb 2018 21:18:38 +0000

Flat edge? Is it possible?

https://www.ebay.com/itm/JOHN-COLTRANE-LEE-MORGAN-BLUE-TRAIN-1st-PRESS-BLUE-NOTE-1577-FLAT-EDGE-JAZZ-LP/352288769533?hash=item52060c05fd:g:wz4AAOSw6Bhaj4c2

By: Stuart Levine

Stuart Levine — Mon, 26 Feb 2018 12:16:29 +0000

Al – I’m curious to know your opinion of True Blue.

By: geoffrey wheeler

geoffrey wheeler — Mon, 26 Feb 2018 07:12:11 +0000

For those who want to get as close as possible to a recorded performance, there are certain prior stages before the record is pressed. There is the recording tape that contains all takes, which can be played. Next is the master tape containing only the takes planned for release. These are cut from the master tape. This also can be played on a tape machine. These takes are then cut by lathe on to a one-sided lacquer disc (incorrectly called an “acetate”), which can also be played with an LP stylus. Lacquers are cut, not pressed. This disc is plated and becomes a “negative” of the lacquer. This is called the “father.” There are two “fathers,” each representing one side of an LP. The “father” can also be played but requires a special bifurcated stylus that straddles the raised groove.

The two “fathers” are then plated to produce two “mothers” which can be played using a standard LP stylus. These are then used to produce two “stampers” from which each side of the record is pressed. One set of “fathers,” up to four sets of “Mothers” (although two are preferred for quality purposes), and six sets of “stampers” from each set of “mothers” are made and constitute the first pressing. NO vinyl pressing can come as close to the actual recorded performance as the preceding stages. I have examples of all stages except a “father” and a “stamper.” I prefer black pressings because color pressings are translucent and can show every scratch or blemish.

By: Joseph

Joseph — Mon, 26 Feb 2018 04:39:46 +0000

I have a Limited Edition BN 1568 AcousTech Mastering 45 RPM Copy from Steve Hoffman & Kevin Gray.

At these prices for BN 1568 , I am currently happy with this….

Finally got lucky yesterday with a nice little find that hardly happens up here in Toronto.

Found a copy of The Return of Art Pepper 1956 – Jazz West JWLP-10. Mono – Deep Groove at a local Thrift Shop.

The LP is only a VG but plays nice. Cover is nice also but completely split.

Great Music on this one.

By: Paul S

Paul S — Mon, 26 Feb 2018 02:26:11 +0000

In my experience and opinion, a nicely executed autograph neither helps nor hurts the value of a record. The specialness of the autograph is cancelled out by the fact that the jacket has been altered from its original state. The same goes for promo stamps on jackets or record labels. As for promo white labels, they may actually be less coveted than a comparable record with a regular first label, with a few notable exceptions, such as Miles’ Kind of Blue.

Fred’s grading of records and jackets is fine with me, as he usually describes the flaws accurately, and one can ascribe a grade based on that. As for jackets, grading is notoriously subjective for anything other than near-mint examples.

By: Middle Class Collector

Middle Class Collector — Sun, 25 Feb 2018 18:17:48 +0000

I’ve been collecting for several years now, and through these years I’ve visited the Jazz Record Center many times. I consider myself a meticulous, knowledgeable collector on a budget, and for whatever reason the owner of the store has said less and less to me as time as gone by. In fact, the last time I was there, I asked to look at a record behind the counter and through the process of entering, looking at the record, and leaving, the owner didn’t say a single word to me. I was the only person in the store. I can’t seem to understand that lack of engagement or friendliness. Add to that what I’ve been hearing about the “perhaps played once” thing when several times I’ve heard of these record being no better than VG+ according to Goldmine standards and I won’t be returning to the store. I’ve gotten good deals there too but I don’t get a good vibe from that place anymore.

I will also say that I’m only here at this blog because a friend told me about this post. I find the combination of covering jazz record collecting while emphasizing and almost excusively covering the most expensive auctions as biased promotion of the market, which is why I don’t visit this site anymore. I’ve wanted to say all this for a while but someone else speaking up about the Jazz Record Center’s grading prompted it. I think this site would be more interesting if it covered good deals on eBay more often. Surely the sensationalism of record high prices drives up traffic for the site but I get the impression that the vast majority of collectors visiting and reading this site are providing commentary from the sidelines while the wealthy play in the game. I refuse to opine over records I can’t afford, which is why I don’t visit this site anymore. I hope the site owner can take this as constructive criticism and not as an attack.

By: geoffrey wheeler

geoffrey wheeler — Sun, 25 Feb 2018 17:24:25 +0000

No, David J, new LPs fresh out of the jacket in the 1950s, ’60s, or any era, do not come with surface marks of any kind. If a new LP came with any defect, you took it back for a replacement copy or refund. As for artist autographs on LPs, that’s up to the individual buyer. I have asked a few artists to autograph one of their LPs. This includes Pepper Adams, Bud Shank, Howard Rumsey, Duke Ellington, Ellis Larkins, and Dardinelle. All signings are on the back cover. I also have a copy of the “Grand Canyon Suite” autographed by Ferde Groffe, a Babs Gonsalez autograph on an otherwise blank LP front cover, and Ross Russell’s autograph on a Dial LP set. As for a previous owner’s handwriting or rubber stamp on a back cover, I don’t care. I have several 10-inch LPs with a rubber stamp from Marshall Stearns, founder of the Institute for Jazz Studies. I also have a couple of autographs on CDs. I have never paid extra for an autographed LP or 78 (usually done in white ink on the record label).