Potpourri From the 10-Inch and UK Vinyl Vaults
Random stuff in our watch list. Let’s start with some original 10-inch vinyl, none of which seems to be getting much action: Howard McGhee Volume 2, Blue Note 4024. This is an original Lexington Avenue pressing listed in VG or VG- condition for the record, and VG+ for the cover. I could actually be in the mix for this one. I have a nice copy of the vinyl with no cover at all. The starting price is about $80 and the auction closes later today with no bidders yet. Seems like a no-brainer, at least to put in some kind of bid. Here’s another 10-inch Blue Note that has more in common than just the label: Gil Melle Quintet, Blue Note 5033. This is also an original Lexington Avenue pressing, from the same seller, listed in VG condition for the record and VG+ for the cover. No bids yet, with a start price of $100. The common element: Both records feature the great Tal Farlow on guitar.
Here’s another interesting set: Miles Davis, Miles His New Quintet, Esquire 32-021. This is an original UK pressing listed in M- condition for the record and Ex for the cover. Bidding is in the range of $55 with nearly three days left on the auction. From the same seller: Elmo Hope, Informal Jazz, Esquire 32-039. This is another original UK pressing listed in EX+ condition for the record and the cover. Bidding is also in the $55 range with nearly three days left. And one more: Benny Golson, Gone with Golson, Esquire 32-125. This one is somewhat of an aberration compared to the others, in that it uses a similar cover design as the U.S. original. The record is listed as EX+ and the cover is EX. Bidding is in the $90 range.
The VG records in this post brought to mind a question that I’ve held for a while: why would jazz audiophiles (mostly) purchase a VG copy of a record? Is it to “hold a place” in the label I collect until I can find a better copy? Is it that some systems diminish the clicks and pops better than others? I bring the question to all of you. If you have a decent system that reveals the vinyl, why have you purchased a VG copy of a record?
most of my collection is in EX or better conditions and is upgrading yet. any record must be played, not displayed and the pleasure comes from the music AND from his conditions. I’ll add that must be original (for me). that’s why I never purchase a VG vinyl: it would be a shame and a sufferance. the only time I deliberately did an exception was in March 1999 while in New Orleans. for the first time I had in my hands Prestige 7105, VG VG. could I let it go? Trane is my God and I got it. never upgraded, never forgetting it’s VG. I’m not an audiophile.
The cover on Miles: His New Quintet is gorgeous!
When I started collecting, I was so happy to find rare out of print records in any condition, I would have no problem buying VG records. I not only got used to some of the static and hisses and occasional pops, it all became part of the listening experience and, in some cases, I got to expect it. Considering the equipment I was playing the records on at the time, it was fine. Hey, if you listen to 78s, as I often do, then the surface noise is definitely part of the experience of listening to the music as it was originally released. Now that I am older and more financially secure and have much better and more expensive systems and turntables, I tend to avoid the records in lesser condition. Not sure if that is progress or privilege, but it seems to me that something innocent and special has definitely been lost in the translation.
Slim pickin’s
“Hey, if you listen to 78s, as I often do, then the surface noise is definitely part of the experience of listening to the music as it was originally released.”
I couldn’t agree more, plus there’s no better filter than the human ears.
I have a pretty nice vinyl setup and have a revealing cartridge. Interestingly enough, I have found the better the stylus, the less noise it produces even on VG records. It may be that the stylus diamond is smaller and gets into the grooves better where there is less wear (just my theory). I would rather have an original in VG condition than a second in VG+ as the noise doesn’t really bother me that much. Plus the cost of getting a VG++ in what I am seeking is prohibitive. I know some collectors would rather have fewer records in better condition and I trend to other end of the continuum. Of course that explains why I have so many beat up records in my basement….
An original Prestige or Blue Note record in a real VG condition, played with a quality mono cartridge, can be very enjoyable.
I am in complete agreement with Joaquim. I have 3 tables, one equipped with a mono cart. It is remarkable the noise reduction with these carts, a lot of snaps and crackles you hear with stereo reproduction are reduced or eliminated.
PS
Keep your eye out for the new owner of Apple Pie records in Camarillo, Ca. He just bought a 4,000 album collection and their are some true gems. I saw a couple and I was marveling at the condition, like they were new.
@andrew. funny they make a reference to the original MILES (LP 7014)… trees.
Although i like the design of the original very much ( i have the green version, but poorly state),
the theme of that design i can not see.. As Rudolf once pointed out to me “.. Trees…why?..and what’s that shadow doing there in the foreground?”..)
But i like the moody atmosphere and the brutal and minimalistic way of using the fonts, (only MILES. and LP 7014, nothing else)
i think its an artwork
Designed by Gil Mellé !
In general a mono cartridge does not reduce or eliminate pops and clicks. It simply ‘places’ the noise in the center of the soundstage, where it is hopefully overwhelmed by the musical signal.
In contrast, a stereo cartridge places the noise hard left or hard right. When the music is center-stage, the noise is left ‘uncovered’, and is much more noticeable.
It may be true that the profile of a mono stylus may track a different part of the groove than a stereo stylus, and may therefore be less noisy, but this is merely a function of stylus geometry.
Regarding 78’s, clean ones can be remarkably quiet with the proper stylus. Nearly as quiet as LP in fact, to the naked ear. This applies to 78’s going as far back as the mid 1920’s, at least from the better labels such as Victor and Columbia.
Personally, I always prefer to listen to a mono pressing original from the 50s with a mono cartridge. It is for a question of fidelity with the recording and also sound quality.
And on another subject- There is an interesting article in this week’s NYT ‘s Arts & Leisure section titled “Planning the Future of a Storied Studio”. You can guess which one. Hint: Englewood.