Category: $1000 Records

Catching Up: Flanagan, Dorham & A Signed Max

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Let’s catch up on a few more eBay sales:

This one did sell for more than $1,000. Tommy Flanagan Overseas, Prestige 7134. When we were watching it the other day it was at about $400 and we speculated it might sell for less than $1,000. It sold for $1,440 in VG+ condition for the vinyl and the cover. Perhaps that can be considered a bargain in today’s market?

The Arrival of Kenny Dorham, Jaro 5007. This was an original pressing in VG++ condition for both the vinyl and the cover. It sold for $457. We’ve never tracked this one at more than $1,000 in the Jazz Collector Price Guide, but we’re pretty sure it has probably cracked the $1,000 barrier at some point. It’s a nice record and quite rare as well.

This one was autographed. Still not sure if an autograph enhances the value of a jazz record. Collectors can be quite picky about having their records untouched and pristine:

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Price Updates: Hank, Jackie, Farmer, Moody

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Just spent the morning updating the Jazz Collector Price Guide, so there are a bunch of new records we’ve been watching, including these, all of which have been mentioned before:

Hank Mobley, Mobley’s Second Message, Prestige 7082. This was an original New York pressing. The record and cover were listed in VG++ condition and the price was $482.

Another nice Prestige: Webster Young, For Lady, Prestige 7106. This was in M- condition and sold for $529.

Almost bid on this one: Freddie Redd, Shades of Redd, Blue Note 4045. This was an original West 63rd Street pressing and it was in VG++/VG++ condition. It sold for $678.

Zoot Sims, Down Home, Bethlehem 60. This was an original pressing in M- condition for both the record and the cover. It sold for $435.

Jackie McLean, The New Tradition, Ad Lib 6601. This was an original pressing of this very rare record. It was

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The $1,000 Bin: Who’s There Most Often?

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We don’t claim that the Jazz Collector Price Guide is definitive. We update it when we can and we certainly miss many records, and sometimes go weeks without an update. We are still pretty much a one-man band around here. But the Price Guide is ours and we can play with it as we will. So today, with a little time between appointments, we decided to look through our $1,000 bin to see which artists had the most different records on the list. Not different instances of the same record — even if Tommy Flanagan Overseas were to appear 12 times, that would just count as one instance for Tommy Flanagan — but the most different records. There was one artist that led the pack with six records; two more had five, and three more had four. We will give you some time to guess before providing the answers. You can also do what we did which was click on the Price Guide and look it up. You may even find some things that we missed.

A Two-Piece Zoot For the $1,000 Bin

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We decided to update the $1,000 bin and we found one that is new to us: Zoot Sims-Henri Renaud, Night Session in Paris. The label is Le Club Francais Du Disque 95 and it is a 10-inch LP. The record was in M- condition and it also came with a 12-page booklet. The price was $1,358. I’ve been collecting jazz records for 40 years and have never come across this one.

Zoot also made the $1,000 bin with this one: Jutta Hipp With Zoot Sims, Blue Note 1530. This was an original pressing with the Lexington Avenue address. It was listed in VG+ for the vinyl and VG for the cover. Despite the condition, it still sold for $1,036 and there were nearly 250 page views.

Price Updates: Trane, Friedman, Blue Notes

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Here’s a new one for the $1,000 bin: John Coltrane, Coltrane, Prestige 7105. This was an original pressing with the New York address. It is Coltrane’s first date as a leader, but it’s still surprising to see this one pass the $1,000 mark. This one was in M- condition for the vinyl and near-M- (?) condition for the cover. The price was $1,077.65.

This one almost made the $1,000 bin: Horace Parlan, Us Three, Blue Note 4037. The record and the cover both looked to be in VG++ condition. The price was $912.

I didn’t realize this one had such cachet as a collectible: Don Friedman, Circle Waltz, Riverside 431. The vinyl was M- and the cover was VG++. The price was $255.

This one falls into the same category: When did it become a $200-range record?

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Catching Up On Some Sweet Blue Notes

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Here are a few more Blue Note 1500-series beauties we’ve been watching:

This one goes into the $1,000 bin: Lou Donaldson, Quartet, Quintet, Sextet, Blue Note 1537. This was an original Lexington Avenue pressing that was in M- condition all the way around. A real beauty. It sold for $1,880.55.

Lee Morgan, City Lights, Blue Note 1575. This was an original pressing. The vinyl was listed as VG++ and the cover was listed as VG+. The price was $850 and it had nearly 200 page views, which means a lot of people were at least considering a bid. I know I was.

Paul Chambers, Bass on Top, Blue Note 1569. This was also an original pressing, although the listing was a little weird, advertising it as Bone and Bari, the Curtis Fuller LP. Nonetheless, whatever record this turns out to be it was listed in VG++ condition and it sold for $790.

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For the $2,000 Bin: Marable and Flanagan

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Let’s update the $2,000 bin, shall we?

The Lawrence Marable Quintet, Tenorman, Jazz West 8. The vinyl on this was listed as VG++ and the cover was listed as excellent, which I generally take to mean either VG+ or VG++ depending upon the seller and the description. For this item, I would think VG++ would be appropriate based on my grading terminology. This copy sold for $2,024.99. I admit: I don’t own a copy of this LP. Generally the LPs that have the high price tags are not just rare, but the music is good as well. Anyone want to share a review/opinion on this LP?

Also entering the $2,000 club, again, was this:

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Sealed Giant Steps? $2,025? Huh?

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I know this is going to give some of you a heart attack: That sealed copy of Giant Steps of unknown provenance sold for $2,025.55. What happens with something like that? Does the buyer even open it? If he does, what if it’s just a standard red and green label? What happens? I think it’s amazing that this seller is able to get these prices for some of his offerings. But I do wonder if there’s an alternate reality going on that we’re not aware of, like whether there is one set of buyers that are completely rapt by his marketing wizardry and only bid on his stuff and are not bidding on any other records. Here are a couple of other auctions we were watching from him: Louis Armstrong at the Crescendo Volume 2, Decca 8169. This is a pretty routine record that you could probably find pretty regularly for $10 or $20 at a weekend record show. This one sold for $103.50. How about: Billie Holiday, Lady in Satin, Columbia 8048? This was a 6-eye stereo pressing. Nothing special, right? This one sold for $157.55. As I was copying the picture of Giant Steps, I took another look at the listing. Someone asked about the label and this was the seller’s reply:

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On eBay: Blue Note, Transition & Hyperbole

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Was watching this later pressing to see if it would sell: John Jenkins with Kenny Burrell, Blue Note 1573. This was a United Artists pressing. The vinyl was in M- condition, but the cover had a corner clip. The starting price was $44.44 and there were no bidders. Not sure where the market is for these United Artists pressings. I do have a bunch of them and I’m planning to hold onto them. They sound fine, not like the original pressings, but not like the reprocessed stereo editions either.

Here’s an interesting one from our “friend” Bobdjukic: Don Byas, Tenor Sax Solos, Atlantic 11233. This is a 10-inch LP with an interesting cover. The listing notes that it is an uncredited David Stone Martin illustration and, I have to admit, it looks like one for sure. But when this seller says something is “absolutely certain” I tend to wonder. In this case, I think he’s accurate, but it would nice to get confirmation from one of the experts out there as well. The rest of the hyperbole in the listing is a true work of art. Here is some of the language: “One of the rarest jazz albums in existence,” plus “We are reasonably certain that less than four copies

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