Comments on: What Makes Us Covet Certain Records vs Others?

By: Meg

Meg — Wed, 06 Apr 2016 20:32:42 +0000

Some new jazz listings from my dad’s extensive collection:

http://www.ebay.com/itm/Miles-Davis-Sonny-Stitt-Live-in-Stockholm-1960-Vinyl-2-LP-Dragon-/301911397678?hash=item464b52552e:g:ypYAAOSwwpdW-IZP

By: Art Klempner

Art Klempner — Sat, 26 Mar 2016 14:55:24 +0000

Hey as long as we are talking Baritone, how about Bob Gordon?

By: Gregory the Fish

Gregory the Fish — Fri, 25 Mar 2016 15:46:06 +0000

oh clifford: i agree with you entirely. i was more saying i doubt people not paying big bucks for tal farlow records has to do with race. that was all.

anders: hey man, difference of opinion is what makes the world go ’round. no qualms here. but i really, really dislike brubeck for many reasons, and i speak harshly when it is of little consequence. no harm intended for you!

rob: pepper adams is outstanding. i have been looking for an original copy of “dakar” for awhile thanks to him and cecil payne blowing with trane.

joe L: oh i would never say brubeck and desmond were bad people. they did a ton for what was right socially, but i just strongly, strongly dislike almost all of brubeck’s music, and i find his lasting popularity frustrating. i might write about it sometime. but hey, like i said to anders, it takes all kinds. and you are right, those early columbia’s do play nicely. i have a few!

By: Eric

Eric — Fri, 25 Mar 2016 02:35:06 +0000

The question as to why we covet this as opposed to that, within the context of collecting and music scenes, has received some scholarly scrutiny. One should not discount more purely sociological reasons, indexed to the most common average age of most jazz collectors, and what was the music of their (our!) youth. This also corresponds with our highest earnings period of our lives, and other factors that give us more disposable income than many other demographics. Yes Verve was our parents music, Blue Note, Prestige, that was our hip. This notion of “hip” then caused many dj to drop samples from Blue Note recordings, which raised their value considerably. And, of course, most are just simply great! Me, I get as much a rise out of finding some hard to get recording on Horo, say, as I do on older labels, partially, I think for classic collector reasons related to obscurity, we know so much about Blue Note and its history that almost anyone can bone up on that discography, while small European Free Jazz labels, there is more to learn and discover. Sort of like wine–go with 1st grown Bordeaux, it is straight by the book, venture into wines of the South West, more to discover, more variability, harder to know what is what.

By: Woody

Woody — Thu, 24 Mar 2016 14:51:41 +0000

Dottorjazz: Art Pepper is really only a sideman on Intro ILP 608 (I own the Score release SLP-4031). Art plays on less than half the tunes, beautifully of course but it’s not his record.

By: Jay Fulmer

Jay Fulmer — Thu, 24 Mar 2016 12:31:32 +0000

Rob, I disagree about Pepper Adams as being “highly under rated” in the collector or any other community – from what I’ve seen over the last ten years, he could not possibly be categorized as such. Now Joe Farrell is probably one of the most underrated players (and a white dude) in the history of Hard Bop. Anyone who takes the time to trace his career will be astounded, although few bother. Too bad- what an innovator he was, and highly respected by the other innovators and leaders of his time.

By: dottorjazz

dottorjazz — Thu, 24 Mar 2016 08:43:03 +0000

Intro ILP 608, Joe Morello with Art Pepper, rec. Jan 1957, never reaches high prices. why?

By: Bill Walter

Bill Walter — Thu, 24 Mar 2016 00:09:28 +0000

Many things go into Blue Note & Prestige lps selling for high prices. In addition to the great music, both labels had original attractive album covers due to the combination of creative photography, cool graphic design styles and interesting use of fonts. The entire package became a work of art. Plus, these were two big labels from the New York area and that added to the mystique. As to why Art Pepper lps sell for a far higher price than lps from Tal Farlow, I think your more controversial artists (the bad boys) like Pepper tend to gather more of a cult following than your good guy types like Farlow, especially among younger collectors. Also, lps from small labels like Intro tend to command higher prices than a larger better distributed labels like Norgran.

By: Mark

Mark — Wed, 23 Mar 2016 21:48:24 +0000

I think “time out” is an outstanding album; have mint original 6-eyes in mono and stereo. How about the Candid label for underrated jazz albums? Some of my favorite Mingus is on the Candid label..seems only a few Candid albums fetch big dollars.

By: Joe L

Joe L — Wed, 23 Mar 2016 21:21:59 +0000

Gregorythefish – allow me to defend Brubeck and Desmond for a minute. I’m not a huge Brubeck fan, but my wife is, so we have a fair few of his records. First, they’re good. Desmond is good. The band is tight. Second, they’re cheap. Maroon label DG super-heavy early Columbias for $5. Third, Brubeck was a fine, fine man, and fought hard for racial integration, canceling gigs in the South, refusing to play on TV when the execs tried to bounce his African-American bassist, Gene Wright, and so on. Desmond was a well-known wit; dry, acerbic, funny as hell. Plus, the man wrote Take Five (a damn good song), and, upon his death, donated the royalties to the American Red Cross. All in all, they were cool dudes. Again, not my favorite records, but two of my favorite jazz musicians, and a nice antidote to remember when I’m enjoying a Chet Baker record and thinking about what a colossal jerk he was.