Comments on: Of Market Value and Music Value

By: rOBERT hENDERSON

rOBERT hENDERSON — Thu, 18 Nov 2021 21:11:23 +0000

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?

By: Clifford Allen

Clifford Allen — Tue, 30 Oct 2018 20:13:09 +0000

$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…

By: Mark

Mark — Tue, 30 Oct 2018 19:30:31 +0000

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…

By: Woody

Woody — Tue, 30 Oct 2018 17:09:19 +0000

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.

By: Rudolf

Rudolf — Tue, 30 Oct 2018 15:51:07 +0000

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.

By: Clifford Allen

Clifford Allen — Tue, 30 Oct 2018 15:30:53 +0000

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.

By: GST

GST — Tue, 30 Oct 2018 14:06:42 +0000

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.

By: ian shadwick

ian shadwick — Tue, 30 Oct 2018 12:12:07 +0000

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.

By: Michel

Michel — Tue, 30 Oct 2018 08:58:18 +0000

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 🙂 !!

By: Art Klempner

Art Klempner — Tue, 30 Oct 2018 01:58:14 +0000

…” I guess we were focusing on the music that we loved “ some of us still are.