Comments on: Dolphy Vinyl, Autograph Updates

By: rl1856

rl1856 — Tue, 20 Mar 2018 02:03:01 +0000

Wish I knew about Rare Records back in the day. I spent too much money at the Hackensack Book Store, also on Main Street. This was a rambling old warehouse full of books and magazines, both new and used. Had I known about Rare Records, I would have been in there myself….

When I lived in a bigger city, I used to frequent a semi-monthly record show held at a local hotel. I got tired of the crowds and inability to find anything good other than random purchases. One morning I decided to arrive when dealers were admitted, and I paid the “dealer” entrance fee. I became one of those buying as dealers set up, then moving towards the exit when the doors opened to the general public. In many cases I was able to buy from one dealer, then sell or trade to another dealer at a profit….at the same show.

My current home town has but one show per year. However, I still get there when the dealers set up, and I still do very well before the general public arrives.

By: Woody

Woody — Sun, 18 Mar 2018 16:23:45 +0000

Scott – I don’t know about Out to Lunch but I’ve compared a few RVG and non-RVG pressings and the difference between the 2 weren’t that great.
However, Clifford mentioned above that there is also a UA pressing. UA did a mono run primarily for the Japanese market and even compared to late Liberty mono pressings we found them mastered with a flatter equalization. Both the high and low end sounded compressed.
Right or wrong, I used to tell my fellow collectors that the “P” may heavily influence the price a Blue Note will sell for but a “RVG” or “Van Gelder” denotes the quality of it’s mastering and pressing.
In the end I want to hear the session the same way Rudy Van Gelder intended.

By: Scott Lowrey

Scott Lowrey — Sat, 17 Mar 2018 00:52:30 +0000

Thank you Clifford and Aaron for replying. By chance has anyone heard both copies, and if so is the non-RVG is really that inferior, andwhat the main distinctions are?

By: ILYA

ILYA — Fri, 16 Mar 2018 19:52:18 +0000

Once I asked Jack about his collection. He said that he did not collect because otherwise he would not be able to run that business. He would often have a record on the turntable when he was at his store though. He clearly loved jazz.

By: ILYA

ILYA — Fri, 16 Mar 2018 19:46:25 +0000

To AL:

Now I get it. Jack’s needed to outrun those Japanese dealers to shows that he sold to later. This is why he ended up outrunning you.

Joke or not, it’s true in any collecting field – records, stamps, anything… When you come for the opening, all the good stuff is already picked up by dealers. A flow of goods from non-specialist to specialist dealers, so to speak. A specialist in stamps of Burundi (pick any country), will identify and buy better items from the “general” dealers before the show even opens, only to re-offer at higher prices elsewhere (or right at the same show).

Same was true with Jack, I presume, except there was always more competition for high end jazz than Burundi stamps, so he had to outrun other interested specialists (like Al) and dealers.

I never even tried to compete with dealers because it is always a loosing game anyway.

By: Woody

Woody — Fri, 16 Mar 2018 19:36:50 +0000

Al, yes, I used to love hanging out with Red at the shows at the end of the day. Red was a natural born story teller and a stone cold solid good people to boot. I met Red in the late 90’s, after the Japanese Dealers had picked him clean of old stock. Red told me that in the 60’s the demand for mono pressings tanked as everyone only bought stereo recordings that some stores just moved their mono back stock off the floor. He was working as a salesman in the city and at the end of the day he would stop at these stores to fill his trunk and back seat with these unwanted mono pressings for a dollar a pop. I don’t remember asking Red what he sold them for but at that time it couldn’t been much as he was always trying to be as fair as possible.
Jack Brown was cut from the same cloth…. They both spent more time talking about their passion for a particular session than what they could sell it for.

By: Al

Al — Fri, 16 Mar 2018 12:38:05 +0000

Woody, you’ve seen the tributes to Red here at Jazz Collector, yes?
http://jazzcollector.com/features/adventures-in-jazz-collecting-red-carraro-part-3/

By: Woody

Woody — Fri, 16 Mar 2018 03:24:35 +0000

Jack Brown used to take me along on those early runs to record shows. I would help carry in and set up Red Carraro’s tables to get in early. I really miss both of them.

By: Al

Al — Thu, 15 Mar 2018 12:49:59 +0000

Jack Brown was a ubiquitous presence at record shows and the like in the day. I remember many a time showing up very early at a record show to try to catch the new dealers before they set up their tables, only to have been beaten to the punch by Jack.

By: Shaft

Shaft — Thu, 15 Mar 2018 08:27:23 +0000

ILYA really cool stories that I enjoyed much reading. Everyone has their own story. I will not indulge myself here and now so much but when I started to buy my own records in the 80’s a record was just a record and I did not buy so much jazz just the odd Wes Montgomery/Ramsey Lewis LP.

When I got into the collecting game in around 2005 it was quite late and I did not buy many expensive records, maybe top $50 when I found the right one in NM condition. Mostly locally bought in Stockholm. Today I buy both high and low – because I love the music. Condition is alway important to me. I have a problem with noise and imperfections on LPs even from the 50s. It takes away the joy I’m afraid. And with those demands well you either put in more money or start to buy only reissues or MusicMatters. So I put in a bit more money when the opportunity arrives mostly locally but I also get me some playing copy on MMs. Those and EMI 2012 Disk Union issues are very very nice indeed. I got a nice Saxophone Colossus locally for $1000 and a Cool Struttin’ for just a little bit more.