InBox: Una Mas, New OJCs, Autographs and A Rare J.R.
I know it’s been a long time between posts, but there is a reason, and, fortunately, it has nothing to do with health, at least physical health, but there may be some of you out there who will question my mental health once I get around to telling the whole story, which I will do in a few days. Sorry for the intrigue and mystery, but for a couple of days I want to just do regular, routine posts, looking at rare jazz records on eBay, so I can take a little more time to write about may latest adventure in Jazz Collecting. You’ve waited this long between posts, you can wait a few days more to hear the story. Meanwhile, our old friend CeeDee has gotten impatient, rightfully so, and sent me a link to this record: Kenny Dorham, Una Mas, Blue Note 4127. This looks to be an original New York USA pressing. The cover is pretty trashed and the record plays with slight noise throughout. It is on buy-it-now on eBay for $245. Something about this listing has perplexed Mr. CeeDee because this is the note that accompanied the link: “I don’t know whether to laugh, cry or scream. I’m sure there is something missing . . . isn’t there?” Is there?
Also in my inbox was a new press release from Craft Recordings announcing that they are relaunching the Original Jazz Classics series on vinyl. The press release mentions that the first OJC issues came out in 1982, which is more than 40 years ago, which seems quite amazing to me. I was never a huge fan of the original OJCs, with their soft cardboard covers and thin vinyl. I would use them to fill in gaps in my collection, but always with the idea that I would like to replace them with originals as soon as possible. These new OJCs are being pressed on 180-gram vinyl and “housed in a replica of the original tip-on jacket. I have no idea what the original tip-on jacket means, but I hope they are using thicker cardboard so they feel more like the original original pressings. If these are nicer copies that the first round of OJCs, do you think they will have any impact on the market for first pressings. Perhaps collectors will be content with a nice reissue, but if experience is any guide, it might make the originals even more in demand as collectors/listenters get hooked on the idea of having these great music on vinyl. The first two records to be issued are Workin’ With the Mildes Davis Quintet and the Monk/Coltrane record on Jazzland. Looks like the first of the products are shipping at the end of May. Perhaps I’ll be among the first to purchase, even though I have both records, just to report on it here at Jazz Collector.
While I’m here, I will clear out some of the other items in my mailbox. This one comes from a reader looking for a buyer: “I have a programme from a Jimmy Smith gig in Birmingham, England. It is signed by Jimmy and his guitarist Nathan Page when I met him at the stage door. Would it be of any interest to anyone as I am willing to sell it?” If you are interested send me an email at alatjazzcollectordotcom and I will pass on your name and email address.
One of our readers bought a collection and sent this note: “Recently I bought a Jazz LP collection and found a sample copy. This record is a promotional press of J.R. Monterose recorded in 1963 live in Tender Trap at Cedar Rapids, Iowa. I read in a Japanese website that it was a British Spotlight recording distributed as promotional records in Japan in only 20-30 copies, but for copyright problems never released. Later it was repressed in 1993 by Fresh Sound. The sample copy is: Spotlight SPJ 152 (C 556). Do you know something more about this sample copy and his grading of rarity? I suppose, as it was written in that Japanese Web site, it’s a very rare record.” I replied that I was ignorant about this particular record, but felt pretty sure that someone in the Jazz Collector audience will have the information. So, if that someone is out there, please comment.
Finally, our friend Clifford sent this link: My Name is Albert Ayler, Fontana 6888603 ZL. The record was graded VG and the cover was just good. But the cover had signatures from Albert Ayler, Don Cherry, Gary Peacock and Sunny Murray. Per Clifford: “I’ve seen one other Ayler autograph in my life, almost exactly the same, so it’s definitely legit – the Sunny Murray signature looks like the other ones I’ve seen.” There were four bids and the final price was $1,532.
The instrumental tracks are comparable to J.R. in Action on Studio 4. The presence of Al Jarreau is kind of interesting, as he was gigging around the upper midwest at the time. His younger voice is lilting and a bit in the Jon Hendricks mode. I’m sure the test pressing is rare but given that the Fresh Sound reissue has been cleaned up, I’d go for the readily available 1990s CD/LP.
“If these are nicer copies that the first round of OJCs, do you think they will have any impact on the market for first pressings.”
No, but they may impact the market for OJCs, which have shot up in price along with earlier and first pressings.
However, I think these will dribble out on a slow release schedule; so I doubt we’ll wake up one morning and find 100 new reissues in the bins to compete with the 80’s/90’s OJCs. So, the short-term impact should be minimal.
By the way, count me among those who find the recycling of the OJC mark to be disingenuous and silly. OK, maybe OJC has more cachet in 2023 than “Pablo”, for example; but these will not be discounted releases, and OJC had no audiophile pretensions.
i agree with austin. it is very odd.
Looking forward to hearing about the next big score Al ! (Sorry I’ve not been contributing much post-COVID, just been busy with work and doing a Master’s degree part-time… Rest assured I’m always lurking in the JC shadows) Cheers !
Don-Lucky — interesting that you presume it is a big score. I just referred to it as another adventure. 🙂
Craft lost me with the Yusef Lateef- Eastern Sounds fiasco, where I had the record in my cart and then it was “unavailable”. I vowed never to spend money with them again, and at least until now I’ve been able to keep my word. OJC’s were a big part of my intro into jazz during my college and post college years, but these days I tend to buy mostly original pressings, because they feel more satisfying, and I enjoy the mastering with more plate reverb. That said, were I to buy a reissue, I’d be far more likely to buy from Analog Productions/ Acoustic Sounds, Third Man or NewLand if I wanted a reissue, rather than Craft, for the reason mentioned at the beginning of the post.
Craft site states that OJC’s goal was “to reissue influential jazz albums with the utmost care and reverence for the originals — from the cover art and liner notes to the audio recordings”
Lol.