Some Jazz Vinyl for Our Files
Just looking at some random items from my watch list, starting with Clifford Brown and Max Roach, Study in Brown, Emarcy 36037. This was described as an original pressing, but clearly it isn’t, with the black writing on the back cover instead of the blue. Also, the cover was graded at M-, but it’s not that either, with both a sticker and writing on the back. So perhaps it was not surprising that the record did not sell at a start price of $300. But it’s back again. I just wanted an excuse to run a picture of the cover. And pose a quick question: I keep all of my Brown and Roach records filed under Brown, and I assume those that file by artist do the same. Does anyone file these under Roach? Drummers, anyone?
This one did sell:
Elmo Hope and Frank Foster, Hope Meets Foster, Prestige 7021. This was an original New York yellow label listed in M- condition for the record and Ex for the cover. The final price was about $494, which seems kind of low for this record in this condition, but actually isn’t, since the top price on Popsike is only $600. I have a nice copy of this one and I file mine under Foster as opposed to Hope, but I may adjust that next time I reorganize my records, which I seem to do every few months or so, just for the fun of it.
I was watching this record close as I was typing this post because it seemed as if it wasn’t going to sell: Sonny Rollins, Blue Note 1542. This was an original Lexington Avenue pressing that looked to be in VG+ condition for the record and probably VG+ for the cover. The start price on this was around $750 and there were no bids until the final second, when one bidder came in and purchased it for the asking price. Seems like a pretty good deal to me. Just for the record, I file this record under Rollins. But most of you probably figured that one out already.
Yes, all Brown and Roach records filed under Brown. “Study in Brown” is an all-timer, one of my absolute favorites.
i file in perhaps an odd way when it comes to double-leaders or no clear one.
my first brown/roach record is under brown, because reading top left to bottom right, brown’s name came first. all my next brown/roach records will go under brown regardless, because that’s where the first one i got went. that way every album by the same group is together.
same with my farmer/golson jazztet, byrd/gryce jazz lab, etc.
You ask that question to a group of people with serotonin issues? LOL, you’re going to see a lot of OCD in the answers!!!
also, the seller of the not original and not M- clifford brown had two records that i have been after for awhile that i had similar condition concerns for, though they were apparently originals.
i don’t know why you would say the record is M- on this one, either. at best, the room is so dusty that the camera focused on some dust, at worst the record has chunks of crap in the grooves, same as with the records i was watching from that seller.
The London Ruggiero Ricci LP he has up with a start price of $500 would be more accurately priced at about £3. The more collectible UK stereo version you can get for £100.
Given Al’s narrative, I’m almost at a place where I don’t even reference Popsike anymore, because of the risk that an LP was returned post-sale for discrepancies in the grading, etc. Another reader recently made this point. Probably need to hire a tech-savvy kid (maybe pay him in Taco Bell or favorite fast food) to scour eBay (or the JC site) and then upload the data into the JCPG (Jazz Collector Price Guide). 🙂
On the subject of jazz record filing: Back when I had a community radio show I played a lot of 1965-75 funk jazz, pop jazz, just the fun stuff to get folks foot tapping. Once another dj asked me how I was able to keep finding more and more artists and all this great music and I told him: With jazz, it’s all about the labels and the leaders. Who played for whom and with whom? is the question. Its not as clean or as neat as having one band name IE Rush or Foreigner, but its a lot more fun. Makes filing those albums a pain, I have sections for Blue Note and Impulse, but Miles, Monk, and a few others get their own slots. Herbie is mixed between the blue note slot and the ridiculous 70s funk fusion slot, Cannonball similarly finds himself in two places because of the journey his career took post 1967. Its never going to be perfect, it would be impossible anyway.
I’m pretty arbitrary. It does depend somewhat on whom — in these co-led dates — I have more records by in the collection. I file Tenor Conclave under Coltrane’s name, for example, though I do enjoy Cohn and Sims (and have several of their recordings together). Most of my Mobley lives in the Blue Note label section of the library.
Then again, the Essen Jazz Festival All Stars record (Powell/Pettiford/Hawkins) is filed under “E” for Essen, as it reads on the spine… right next to Gil Evans and after Booker Ervin.
I file all my records alphabetically by artist. If it’s a co-led session I generally pick the more “marquee” leader to file it under, or sometimes just who’s name is first on the label or cover!
right. I do that except for certain labels, which are filed by catalog number — Actuels, Blue Notes, ESPs, etc.
Comps I generally file by title within the artist-alpha system (i.e., no ‘various artists’ section).
I discussed this with a heavy collector, having an excess of 250.000 titles, working extensively on organising stuff before opening what might be the best record shop on the planet sometime in the future. He told me that the only ‘finally’ logical way to order records, is by catalog-number. So all blue notes in one place, etc. If you have alot of records, I tend to agree, this is the only logical way, void of conflict. Then again, having solved the issue of organising, in a FINAL way, might be a worrying proposition, in the end.
I also file Sonny Rollins Plus 4 album under Brown because of the similarity of the personnel.
I file alphabetically by headline or title artist. Study in Brown, is filed under Clifford Brown. Sonny Rollins + 4 is filed under Sonny Rollins. Something Else is filed under Cannonball Aderley. Ella Fitzgeral Louis Armstrong titles are all filled under Ella Fitzgerald.
I understand why some would file by label and catalog number. But then you have situations where Miles Davis would be split between Prestige and Columbia, Coltrane split between Atlantic and Impulse etc etc.
Glad to see Emarcy titles moving up (somewhat); I have several true first pressings.
Popsike can be useful, but I find Collectors Frenzy easier to use.
think about aussie release on astor label few other norgrans were also on this label chance to get cheap