Jazz Vinyl on a Summer’s Day
Where did I leave off before I was so rudely interrupted by the summer? Oh yeah, Freddie Redd, Shades of Redd, Blue Note 4045. Ex-plus record, some questions about the cover, overall consensus that this was not the copy to purchase after waiting for 45-plus years. Reality would have bitten anyway, because the final price was $1,624, which would have exceeded any reasonable price I would have been willing to pay. Of course, what is reasonable to me seems to be pretty far out of whack with what is reasonable in today’s overall market. I think I’ll solace myself with listening to my lovely Japanese pressing this evening. In the end, it’s about the music anyway, isn’t it? Or is it? This is another one on my so-called want list, meaning it is an original pressing I don’t own: Here Comes Louis Smith, Blue Note 1584. This one is listed as VG++ for both the record and the cover and it has a start price of about $1,600. There are more than four days left on the auction and so far there are no bidders.
And while we’re on the list of original records I don’t own, we can also find Lou Donaldson, Quartet, Quintet, Sextet, Blue Note 1537. This looks to be an original Lexington Avenue pressing in E- condition for both the record and the cover. E- might be acceptable to me, if I knew what it actually meant. This bidding is “only” around $200 with about one day left on the auction. We’ll close today with a Prestige, Gil Melle Plays Primitive Modern, Prestige 7040. This is an original New York yellow label pressing. The record is listed as VG+ and the cover is VG. The start price is $150. So far there are no bidders. This record has never been that highly sought-after as a collectible so in that condition at that price, I would be surprised if there is a lot of interest.
Unless I’m greatly mistaken, interest in the Melle may be rising as “Gil’s Guests” becomes highly sought after. I remember thinking I overpaid for mine at $60 just four short years ago. And as such, his other records are probably getting some halo action.
Melle is the only example, I believe, of a Blue Note discovery which was snatched away by competitor Prestige.
Whilst Blue Note’s catalogue narrowed down on ‘black music only’ after Melle’s 1517, Prestige had a remarkeable, but short, period of opening up to modern sounds (Gil Evans, Oliver Nelson, Teddy Charles, Waldron, Dolphy) before resorting to cash cow tenor/organ formulas, which preluded the end of the label.
Sorry for offtopic, but is anybody watching seller vj21vj on ebay?
He has 19 top blue notes for sale right now, with less than two days to go, all seem to be in great condition, but the listings seem to be quiet strange, since he provides no more than two pictures on each record..
I have a feeling the interest in Gil’s Guests may have more to do with the Guests — Kenny Dorham, Art Farmer, Hal McCusick — than the Gil’s.
Regarding vj21vj those are not Original Pressings….
Agreed on vj21vj. The DG on those is of the very recent pressing variety. Ain’t a single one that is original or even vintage.
Yeah Al, I think so too, but that sort of thing always artificially inflates other discs by the same artist.
Al, I agree, it is more Gil’s guests, than Gil himself which explains this price. Terrific as the guests are, Gil Melle was an innovative giant from his Blue Note sessions on. A pity that this kind of music is not in the limelight anymore. The four 10 inch plus 1517 on Blue Note plus the three on Prestige are amongst the best in my collection.
Shaft , what_can_brown
thanks! but that doesn’t seem to stop guys from a bidding war
Yes, agree with Mr. Rudolf re talent of Gil Mille. Mille, along with Teo Macero, who had a great lp on Prestige, “Teo” and a ten inch on the Debut label, was a fantastically interesting tenorman. At least to my ears. They were among the last I sold off.
Melle, not Mille!!!;#}%#^:*:!!!Geessh!! Confounded auto correct!!!}#%}})}&$&$&@@&&& !!!
Lennib: Of course, Teo Macero. Another ‘underrated’ (by whom?) artist. TEO on Prestige is so exceptional that I still keep two copies, one on Prestige, the other on Esquire. The Debut is thrilling too. The way he uses the accordeon. I must give Columbia 842 ‘What’s New’, a spin, to check whether the Teo side is in the same league. My recollection is that it is not, but I may be wrong. The Bob Prince side is rather uninteresting, I believe.