Of Market Value and Music Value
Back on eBay and wanted to first catch up on some of the items we were watching last time, starting with George Wallington, New York Scene, New Jazz 8207. This was the one from the Jazz Record Center and the bidding was at close to $800 when we wrote about it. The record wound up selling for $2,000, well surpassing the previous top price paid for this record, according to Popsike. I still find it fascinating that certain records have a strong appeal to collectors, i.e., value, while other records of the same era, perhaps by more prominent artists, have less of an appeal. Off the top of my head, I’ll use Sonny Rollins Plus Four as an example. This is a great record, featuring ground-breaking artists in their prime, on Prestige, yet it has never come close to the $1,000 mark, let alone $2,000. I’m sure I can come up with other examples, but you get the drift. I’m sure it has to do with supply and demand and all of that and perceptions of what is “rare” and what isn’t, which, I guess, is one of the nice things about having sites like eBay and Popsike to monitor the market and see on a daily basis what actual market value looks like. Back in the dark ages before the Internet, most of us were probably operating in the dark, not quite understanding the market value of what we were collecting. I guess we were focusing on the music that we loved.
From that same Jazz Record Center auction was Sonny Clark, Cool Struttin’, Blue Note 1588. This was an original pressing that looked to be in M- condition for the record and VG++ for the cover. When we wrote about it last time on Jazz Collector, the bidding was in the $1,100 range, and we expected it would at least make it to the $3,000 bin and perhaps as high as $5,000. Our over/under was $4,100 and if you bet under, you won. The record sold for a surprising $2,345. Again, who knows why? Perhaps it simply has to do with who is on eBay at that particular time. There’s another copy of Cool Struttin’ on eBay right now and the bidding is at $2,225 with nearly three days left on the auction. This one looks to be in M- condition for the record and the cover.
Finally, there is John Coltrane, Soultrane, Prestige 7142. This is an original New Jersey yellow label Prestige, listed in E+ condition for the record and the cover, which I am translating to M- in the terms commonly used here at Jazz Collector. This one has a start price of about $200 and, far there, there are no bidders. This is another one that supports my earlier point about music and values. This is, IMHO, one of Coltrane’s best records of his “early” era, my personal favorite among all the Prestiges. Yet, this is another one that has never made it to the $1,000 bin and has sold for a top price of $765 on Popsike.
Interesting is that that Sonny Clark that’s currently running has the INC and R on both sides making it a definite later press than the JRC copy, yet it looks like it’ll be ending quite a bit higher. The market moves in mysterious ways …
AL: Please note that the second Blue Note “Cool Struttin'” eBay listing which you mention has the ‘R’ at the bottom after ‘BLUE NOTE’, so it is technically not considered a true first original pressing… x C
As always, you guys are far more observant than I am. Thanks. — al
The Soultrane you show looks gorgeous. It is a first pressing, judging after the letter type of ‘High Fidelity’ on the labels. Music-wise easily the best of Coltrane on Prestige. Would deserve the $ 1000 bin, which is still half of the Wallington on New Jazz. I guess they were issued in the same year. But how many Wallingtons were pressed vs the number of Soultrane pressings? One to ten? Or twenty?
Scarcity certainly plays a significent role.
Both the original Soultrane and Self Titled on Prestige sound so good, maybe Coltranes best sounding albums.
…” I guess we were focusing on the music that we loved “ some of us still are.
What makes a valuable record is a mix of various factors : the label (Blue Note !), the cover design (Blue Note !), the musicians involved (Blue Note !), the music (Blue Note !), the first press factor (is that NY 23 label really the real first ever pressed 1568 ? Lets compare it with all the NY23 existing in the world in an excel file ), the demand (Blue Note !), the supply (Blue Note !) the cool factor (Blue Note !)
Nobody knows exactly how it works, but we all know some records (Blue Note !) are more valuable than others. I remember one or two years ago Rudolf wrote a definitive reply about some labels (Blue Note !) related to the real Jazz History. Too bad i did not keep it. It tells all.
@ Rudolf, please, just repost it 🙂 !!
Putting aside the first editions etc for a moment can I ask , is the market fixation on Blue Note healthy for the ongoing appreciation of classic jazz or does it limit, for the future, an understanding of a huge number of great artists of that classic period . Classic period being 1950’s and 60’s . Would be interested in any thoughts.
Hard to say Ian. I’ve purchased a number of nice Blue Notes over the years, but that doesn’t stop me from buying and appreciating a wide variety jazz musicians across an array of labels.
Also as we’ve seen from Clifford’s posts here it’s not just bop or Blue Note that’s going for big dollars.
That 1588 Fred was selling mentioned needle digs and other issues, so I would rate it probably closer to a VG+ for the LP.
Will have to dig out my Japanese pressing of the New York Scene, as I haven’t heard it in many years. Those free jazz records he listed did some damage, especially the Arthur Doyle. Sheesh. I have had it a couple times over the years — never sealed, but also never hitting my wallet particularly hard. Great record though.
I think that the fixation on Blue Note certainly limits the understanding of other excellent artists of the ’50s and ’60s. However, this offers a chance for those who have come to understand that the world is bigger than Blue Note alone. They can find real bargains on such labels as Riverside, Jazzland, Savoy etc.
At the other hand, the example of the Wallington album on N.J. shows that the market and collectors’ taste are not static.
Clifford Allen: You’re right, the Sonny Clark 1588 also has the previous owners name stamped on the label which traditionally is a huge red flag for high end collectors.
Wtf since when did the Arthur Doyle become a $1600 record!???
I found a mint one for $5 in the late 90s but flipped it for $400 when the reissue came out. At the time I thought that was huge money for it haha…I mean it’s a fun record but c’mon…
$500 would be about the most that Doyle should go for, though a friend sold his for like $900 some years back (and that seemed like a big anomaly). Again, it is a record I’m very fond of, but…
I have access to a Sonny Rollins Plus 4 on Prestige. The vinyl is VG + to excellent but the cover has been badly damaged by water. Part of the colour front has been torn off showing the white cardboard. Ie Bad
Would this still be worth any money?