Following up on some of the jazz vinyl auctions we were watching on eBay. Here are a few from the Jazz Record Center auction

Lee Morgan, Candy, Blue Note 1590. Original pressing, M- or VG++ for both the record and the cover. Final price $3,839

Lee Morgan, Indeed!. Blue Note 1538. Original pressing. Probably M- for the record and VG++ for the cover. Starting price at $2,000 and did not sell.

Lee Morgan, City Lights, Blue Note 1575. Deep groove, West 63^rd Street pressing.  Probably M- for both the record and the cover. Final price $1,600.

Lee Morgan Sextet, Blue Note 1541. Lexington Avenue pressing. Probably VG++ for the record and M- for the cover. Looked new in the pictures. Final price $2,682.69.

Lee Morgan, Lee-Way, Blue Note 4034. Original West 63^rd Street pressing, review copy. Probably M- condition for both the record and the cover. May VG++ for the cover, depending upon the anality of the buyer. Final price $1,160.

This is one I was watching that also did not sell: Charlie Parker, For Collectors Only, Alternate Masters, Volume 2, Dial 905. This one looked VG for the record and the cover. Opening bid price was $900 and the buy-it-now price was $1,170. This is another Bird Item I would like to have in my collection. Someday, if the price is right . . .

The same seller has another one ostensibly signed by Dolphy: Mal Waldron, The Quest, Prestige New Jazz 8269. This also looks to be an original deep-groove purple label. The record and cover are both listed in VG condition and the bidding is in the $140 range.

Here are a couple of Blue Notes that may sell for “reasonable” prices: Donald Byrd, Fuego, Blue Note 4026. This looks to be an original deep groove pressing with the West 63^rd Street address.  The record looks to be in VG or VG+ condition (probably VG based on the seller’s description) and the cover looks to be VG++, quite clean. Bidding is around $140 and the auction will close in a few hours from whence this post goes live.  Art Blakey, A night at Birdland, Volume 1, Blue Note 1521. This looks to be an original Lexington Avenue pressing listed in EX condition for both the record and the cover. The cover looks really nice in the picture. Bidding is close to $200 with more than three days left in the auction.

The post Eric Dolphy Autographs (?), Blue Notes and Other Stuff first appeared on jazzcollector.com.]]> https://jazzcollector.com/blue-note/eric-dolphy-autographs-blue-notes-and-other-stuff/feed/ 2 9539 https://jazzcollector.com/blue-note/inbox-una-mas-new-ojcs-autographs-and-a-rare-j-r/ https://jazzcollector.com/blue-note/inbox-una-mas-new-ojcs-autographs-and-a-rare-j-r/#comments Tue, 04 Apr 2023 14:15:02 +0000 https://jazzcollector.com/?p=9142 I know it’s been a long time between posts, but there is a reason, and, fortunately, it has nothing to do with health, at least [...]

I know it’s been a long time between posts, but there is a reason, and, fortunately, it has nothing to do with health, at least physical health, but there may be some of you out there who will question my mental health once I get around to telling the whole story, which I will do in a few days. Sorry for the intrigue and mystery, but for a couple of days I want to just do regular, routine posts, looking at rare jazz records on eBay, so I can take a little more time to write about may latest adventure in Jazz Collecting. You’ve waited this long between posts, you can wait a few days more to hear the story. Meanwhile, our old friend CeeDee has gotten impatient, rightfully so, and sent me a link to this record: Kenny Dorham, Una Mas, Blue Note 4127. This looks to be an original New York USA pressing. The cover is pretty trashed and the record plays with slight noise throughout. It is on buy-it-now on eBay for $245. Something about this listing has perplexed Mr. CeeDee because this is the note that accompanied the link: “I don’t know whether to laugh, cry or scream. I’m sure there is something missing . . . isn’t there?” Is there?

Also in my inbox was a new press release from Craft Recordings announcing that they are relaunching the Original Jazz Classics series on vinyl. The press release mentions that the first OJC issues came out in 1982, which is more than 40 years ago, which seems quite amazing to me. I was never a huge fan of the original OJCs, with their soft cardboard covers and thin vinyl. I would use them to fill in gaps in my collection, but always with the idea that I would like to replace them with originals as soon as possible. These new OJCs are being pressed on 180-gram vinyl and “housed in a replica of the original tip-on jacket. I have no idea what the original tip-on jacket means, but I hope they are using thicker cardboard so they feel more like the original original pressings. If these are nicer copies that the first round of OJCs, do you think they will have any impact on the market for first pressings. Perhaps collectors will be content with a nice reissue, but if experience is any guide, it might make the originals even more in demand as collectors/listenters get hooked on the idea of having these great music on vinyl. The first two records to be issued are Workin’ With the Mildes Davis Quintet and the Monk/Coltrane record on Jazzland. Looks like the first of the products are shipping at the end of May. Perhaps I’ll be among the first to purchase, even though I have both records, just to report on it here at Jazz Collector.

While I’m here, I will clear out some of the other items in my mailbox. This one comes from a reader looking for a buyer: “I have a programme from a Jimmy Smith gig in Birmingham, England. It is signed by Jimmy and his guitarist Nathan Page when I met him at the stage door. Would it be of any interest to anyone as I am willing to sell it?” If you are interested send me an email at alatjazzcollectordotcom and I will pass on your name and email address.

One of our readers bought a collection and sent this note: “Recently I bought a Jazz LP collection and found a sample copy. This record is a promotional press of J.R. Monterose recorded in 1963 live in Tender Trap at Cedar Rapids, Iowa. I read in a Japanese website that it was a British Spotlight recording distributed as promotional records in Japan in only 20-30 copies, but for copyright problems never released. Later it was repressed in 1993 by Fresh Sound. The sample copy is: Spotlight SPJ 152 (C 556). Do you know something more about this sample copy and his grading of rarity? I suppose, as it was written in that Japanese Web site, it’s a very rare record.” I replied that I was ignorant about this particular record, but felt pretty sure that someone in the Jazz Collector audience will have the information. So, if that someone is out there, please comment.

Finally, our friend Clifford sent this link: My Name is Albert Ayler, Fontana 6888603 ZL. The record was graded VG and the cover was just good. But the cover had signatures from Albert Ayler, Don Cherry, Gary Peacock and Sunny Murray. Per Clifford: “I’ve seen one other Ayler autograph in my life, almost exactly the same, so it’s definitely legit – the Sunny Murray signature looks like the other ones I’ve seen.” There were four bids and the final price was $1,532.

The post InBox: Una Mas, New OJCs, Autographs and A Rare J.R. first appeared on jazzcollector.com.]]> https://jazzcollector.com/blue-note/inbox-una-mas-new-ojcs-autographs-and-a-rare-j-r/feed/ 7 9142 https://jazzcollector.com/blue-note/how-many-original-copies-of-rare-jazz-vinyl-have-survived-and-other-existential-questions/ https://jazzcollector.com/blue-note/how-many-original-copies-of-rare-jazz-vinyl-have-survived-and-other-existential-questions/#comments Sun, 11 Dec 2022 15:00:23 +0000 https://jazzcollector.com/?p=9085 Let’s check out the Jazz Collector watch list on eBay, starting with Introducing Lee Morgan, Savoy 12091. This is not an original pressing. It has [...]

The post How Many Original Copies of Rare Jazz Vinyl Have Survived (and Other Existential Questions) first appeared on jazzcollector.com.]]> Let’s check out the Jazz Collector watch list on eBay, starting with Introducing Lee Morgan, Savoy 12091. This is not an original pressing. It has the maroon label with no deep grooves. I was fooled at first because the label looks red in the pictures, but the seller is very clear about what it is. Also, it’s not an original Savoy cover, with the white frame. It is in nice condition, graded M- for the record and near mint for the cover. The auction closes today and the bidding is in the $400 range.

Whilst on the subject of Lee Morgan, I got this note in my inbox the other day from a reader named Andy:

“Hi there. Just wanted to say hi and I’ve been enjoying your blog for the past year. Been listening to vinyl for a long time but just started getting into collecting older jazz albus recently. As a listener first and collector second I’ve been wondering: How rare are these older Blue Notes? Or how many do you think are in circulation? Say, for instance Lee Morgan’s Candy. Are there 100 in VG+ condition? Any knowledge on this is much appreciated. Thanks.”

My reply:

“Hi, Andy. Thanks for the kind words. There’s no way of really knowing how many original copies of any record have survived in VG+ or better condition. Based on what I’ve seen on eBay over the many years watching, plus my own experience in record stores and with other collectors, I would guess for a really rare record like Candy, there are maybe 300 or so copies in collectors of floating around between collections. It’s a good question and I will ask it of the broader audience when I do a new post. Cheers.”

So there it is. You have my educated guess. What’s yours.

Speaking of rare original Blue Notes, there is Hank Mobley Quintet, Blue Note 1550. This is an original deep groove pressing with the New York 23 labels. The record and cover are both graded in VG+ condition, so this copy would fit Andy’s criteria. Do you think there are 300 of these out there? Maybe, maybe not. I know I don’t have an original pressing, and I’ve been collecting jazz for more than 50 years. Anyway, the bidding for this one is in the $600 range with more than four days left on the auction.

Finally, there is this: Sonny Rollins, The Sound of Sonny, Riverside 12-241. This is not an original pressing. An original would have the white label, and this one has the blue label. But it is quite interesting because right on the front cover is Sonny’s signature, with the following note: “To Morrie. Sonny Rollins. Best wishes.” I don’t need Don Lucky to confirm that this is Sonny’s signature because I have other examples, and this is clearly Sonny, no doubt about it. Plus, the seller, who happens to be Morrie, has a great story to go with it, including a ticket from the concert where Sonny signed it, and even a copy of the set list. I know if my name was Morrie I’d be all over this one, even though the start price is $500. I still find it very cool, knowing the story and the details about how, when and where Sonny signed it. It’s funny, all those years of seeing Sonny live, it never occurred to me to ask him for his autograph. I know he would have signed, especially on those nights late in the middle of the week when the clubs were pretty empty and you could just go up and talk with him, which we often did. But asking for an autograph always seemed intrusive to me, or, better yet, it just didn’t seem cool. But, looking back, perhaps I could have been less concerned with seeming cool because I sure wouldn’t mind a copy of Tenor Madness signed “To Al. Sonny Rollins. Best wishes.”

The post How Many Original Copies of Rare Jazz Vinyl Have Survived (and Other Existential Questions) first appeared on jazzcollector.com.]]> https://jazzcollector.com/blue-note/how-many-original-copies-of-rare-jazz-vinyl-have-survived-and-other-existential-questions/feed/ 11 9085

These remaining Thelonious Monk albums are from his close friend Ornette Coleman’s personal collection. I’m Ornette’s step-daughter, Dee Dee – and retrieved them when my mother died in 1995. They lived together – (with me, early on!) – going back to his earliest 1959 arrival in NYC, in a close relationship spanning 30 years.

She had quite a history in this music, not the least of which was booking (including the Five Spot Café and Town Hall gigs), publicity/promotion for both Monk and Ornette, and international publishing contracts for their compositions, which still generate royalties for the Monk family.

I’ve uncovered documentation, personal letters and original sheet music in his handwriting, a music stand, metronome, a fat scrapbook of clippings from 1959 forward . . . and so much more.

It’s now urgently the time to find a home for the historic value it all contains. Some is being donated to Jazz Foundation of America for their good work, but if anyone has serious interest in knowing more, please contact me immediately:

dee@creativemusicphotography.com

The entire collection is currently in Vermont, but other arrangements are possible.

Jazz LPs and Memorabilia

Additionally, I’ve worked documenting historic jazz, Brazilian, and Latin musicians since 1964 as a formally trained (Herb Snitzer) art photographer.

I have an AUTOGRAPHED Edition of one original silver gelatin print available here:

Autographed Edition – Images, Prices, and Exposure Data

My personal vinyl collection of historic Brazilian and Afro-Cuban/Latin albums can be viewed here – with some accompanying images:

Latin & Brazilian Record Collection

This one, also on the Savoy label, caught my eye because of the weirdness of the listing: Milt Jackson – Terry Gibbs, Savoy 15058. The seller listed it as a “78 RPM shellac record.” If you look at the picture, it is clearly not a 78 RPM shellac record and looks to  be just a standard 10-inch LP with the heavy vinyl typical of a 1954 pressing, which this is. It looks to be a compilation LP with Bags on one side, Gibbs on the other. It also looks to have a Milt Jackson signature on the back, which is probably legitimate. So, somehow, the seller manages to put “shellac” in the listing, but does not put in “autographed by Milt Jackson.” The seller clearly does not have experience selling jazz records and did not say much about the condition, other than the word “good.” The starting price was $102, the buy-it-now was $204 and there were no bids. To my knowledge it was listed twice already and is back on eBay once again. Maybe three times will be a charm, now that the record has been publicized at Jazz Collector?

In my absence, there has also been a stockpile of email and other items that will be of interest to many of you, starting with a note last week from our friend Fredrik, under the subject line “Two classic collectibles – more record-breaking prices?” The note said “Hi, Al, hope everything’s alright. You’ve probably already seen these two albums for sale, but I thought I’d highlight them if you haven’t. I’m curious to see what two classic top collectibles such as these will go for at this moment (the Dorham is already at $4,300 with three days to go).” Then there were links to two records, which I had not seen because I was hard at work on my term paper.

Hank Mobley, Blue Note 1568. This was an original pressing with the New York 23 on side two and West 63^rd on side one. The record was listed in VG++ condition and the cover was VG+. The picture also showed some wear on the labels. I didn’t see where the bidding was when Fredrik sent me the note, but the action went from $3,950 to a final price of $6,800 in the final minutes. I guess there’s a symmetry in 1568 and 6,800, but I’m sure the final price is not surprising to anyone who follows the market closely. I still don’t have an original pressing after all of these years.

Kenny Dorham, Quiet Kenny, New Jazz 8225. This one closes in about two hours from the time I am writing/posting this and is still in the $4,300 range. There are already 60 bids from 19 bidders and 375 watchers, which is quite a lot. This copy, from the reliable seller Carolina Soul, is listed in VG+ condition for both the record and the cover. According to Popsike, the previous high price for Quiet Kenny has been $4,500 for a copy listed in M- condition. Looks like there will be a new high price for Quiet Kenny by the time most of you read this.

My friend Dan sent me this link under the subject line “Sonny subbing for Trane.”  This is an audio clip from July 27, 1957. “The controversial trumpet player that the whole country listens to.” Dan mentioned that he thought Sonny was kind of trying to be a bit Trane-like, but to me he sounds most like the Sonny from the Contemporary Leaders album. In any case, it’s a great clip, probably on a bootleg LP somewhere, although I don’t know which one (which is weird, because I probably own it and never listened to it). Any help out there? We speculated that Sonny was playing in the Miles Quintet at a time when Miles may have fired Coltrane for being high and unreliable. Make sense? Accurate?

Here’s a note from Japhy, under the subject “jazz collector note.” It reads: “Hello Al, I was trying to submit this via the blog, but the submission keeps getting hung up, so I dug up an old email and thought I’d send it direct. I know the gang likes to ruminate over these alleged ‘autographed’ items from time to time, and here’s one of interest. The double grail of a Coltrane-signed Blue Train? It was a BIN for $800 from an otherwise seemingly reputable seller in Paris who states, ‘Coltrane played in Paris, especially at the Olympia Hall in Nov. 17^th 1962 and it was probably signed there according to my info. I used to work for the famous jazz magazine during 15 years, for your info.’ Not sure how that qualifies him to attest to the legitimacy of the signature, but I guess he thinks it does. Curiously, most of his recent sales are photos of Michael Jackson. Don’t know about you, but if I had a signed ‘Blue Train’ I’d start the bidding at $800 and see where it goes. Cheers, Japhy.”

Here’s the link, with a picture below: John Coltrane Blue Train – Original US LP Blue Note BST 1577 SIGNED by JOHN! To me, it looks legitimate, but I’d welcome a comment from Don Lucky as to his opinion. As far as what I would do if I had a signed Blue Train? I think we all know the answer to that. I would NEVER sell it, even if I sold everything else in my collection.

Speaking of which, finally and appropriately, we save the last word for our friend Lenni B, who sent this under the subject line “Something from Florida.” Here ‘tis: “Good day to you. Trust you and the Mrs. are doing well. Since you allowed me to write two columns and you were kind enough to expose them to other eyes via your website, you do have some skin in the game. So, I wanted to let you know that I have no more Jazz records, LPs or 45’s or eps. And just one 78, a Bird Dial, 1056, which used to be sought after. Anyway, I did it and it is a wonderful feeling to have them all gone. Peace, blessings and abundance to you and yours. lenni”

Our friend Maarten Kools, who recently wrote a guest column for Jazz Collector (New Newk, New Guest Columnist) stays in touch on a regular basis, for which we are extremely grateful. He always offers insight and good energy. Here are excerpts from some recent correspondence.

“Hello Al. Hope you and the Mrs. are fine! After some time of lockdown in Amsterdam, stores are open again to visit with an appointment , so I went to buy some records today. Ihave a small budget, so i had me a couple of Liberty, UA and Japanese pressings: Jackie McLean, One Step Beyond; Louis Smith, Here Comes; Jmmy Smith, The Sermon, and a nice original of Hank Mobley’s The Flip). One original: Horace Silver, Blowing the Blues Away……VG+ but as always, plays great…

“Liberty’s and UA (mono) re-issues are gettin’ pretty costly nowadays in Amsterdam..  50-100 dollars and up. I also bought a copy of Easy Living by Ike Quebec, an album never issued until the 1980’s. Great music, cheap price. Inside there was an ‘open letter’ from 1987 from blue note/capitol. I had never seen it before, although I have some more re-issues from the eighties.

“It’s quite an emotional/ pathetic letter to jazz fans who are copping music on cassette tapes… with all that has happened since, it has a nice outdated touch. Well, in the end they were right, with the closing of so many small record shops (now because of internet).just wanted to share. Wishing you and family good health!, Maarten Kools”

Note: Maarten added a copy of the letter and I’ve reprinted it below. I hope you are not all reading this on smart phones and can read the contents. I searched the internet to provide a link, but couldn’t find a copy. We can always type it in and reproduce it at some point. This way, if someone does want to do a search on the internet, it will be there, forever.

I asked Maarten if I could publish his note. Here is his reply:

“Hi Al, please, use freely. by the way,..  the cassette tape was great ? you could make a tape with all your favorite songs  on it, and give it to the girl you liked so much. nothing’s changed…my neice , fifteen years old, makes a playlist on spotify, and sends it to the boy she likes….the format/medium changes, the essence is still the same…. and about nostalgia…some bands nowadays sell cassette tapes. Ha!”

A couple of months ago we did a piece on an autograph collector named Bill based on the sale of an autographed copy of John Coltrane, Ballads, Impulse A-32 (Autographs, Autographs, Autographs). After that post appeared, we got this interesting note from Bill: “our recent correspondences have motivated me to organize my collection. I came across one that you might find interesting. It is a rather paltry royalty check to Sonny Clark for just over $3. If he only knew what people were paying for his Blue Note albums!”

This came in unsolicited from a reader:

“I’ve been working on a website (https://www.thelinernotesproject.com) for musicians, students, and fans to explore all of the credits to their favorite albums.  No login or $$$ required – just looking to send it around and gather some feedback.  Check out the help / slide show on the home page, search for artist / musician / writer / producer / album / record label, click on any name you see to explore, and enjoy. Feel free to share the link, and let me know if you have any feedback / suggestions. Thanks.”

This also came in, quite timely:

“Hi Al. I thought you and your readers might be interested in this jazz record auction I saw on estatesales.NET.  If you type “jazz” into their search box you’ll find it no problem. (Btw…I have no skin in this game at all…I just thought it was intriguing). The collection looks to be about 1,000 records, of which about 250 are shown. Lots of ho-hum stuff to be sure, but also plenty of Blue Note, Prestige, Verve, EmArcy etc.  The sellers are looking someone to buy the entire collection.  The location is Hendersonville, TN with the auction taking place April 1, 2, 3. Alas, I live in Portland, Maine so won’t have a chance to check it out…Don”

Finally, we mourn the passing of Freddie Redd. After all of my years obsessing about Shades of Redd, I put it on the turntable the other night in a moment of solemn reflection. It’s still an amazing piece of work after all of this years. Rest in peace.

Al:

My jazz collecting the past 25 years has morphed mainly to jazz autographs. There is something about a genuine signature that makes an item come alive: This was actually in the hands of Billie, Bird, Trane, etc. One must be careful to not obtain a fake, but I have mainly dealt with reputable dealers, and over time, I have become more savvy in finds on sites such as eBay.

I did bid on this Coltrane item, but exited the bidding when it went above $2000.

The prizes of my collection are signed photographs, some contracts, some personal letters, etc. To give you an idea of some of my prized items, here is a partial list:

Jelly Roll Morton (very hard to find – I have 2, one of which is sheet music)

Bix Beiderbecke

James P Johnson (photo)

Charlie Christian

Fats Navarro (photo)

Clifford Brown (photo, Study in Brown album)

Booker Little

Serge Chaloff

Charlie Parker (2 photos, a note to Chan, a contract, a signature by his entire quartet)

Lester Young (2 photos, one 78 RPM record)

Coleman Hawkins (multiple photos, cancelled check)

Django Reinhardt (photo, concert program)

Wes Montgomery (photo)

Thelonious Monk (photo, concert program)

John Coltrane

Bud Powell

Bill Evans (photo, high school yearbook)

Billie Holiday (photo, 2 separate contracts regarding the rights to her autobiography, one signed Eleanora Fagan, copy of Lady Sings the Blues)

Lee Morgan (beautiful signed photo, paper with all 5 members of Blakey group, contract for club engagement)

Wardell Gray (10″ LP)

Bennie Moten (78 rpm)

Chet Baker (photo)

Charles Mingus (Mingus at Monterey album, photo)

Ma Rainey (royalty agreement)

Like all financial transactions, especially collecting, the price is determined by supply and demand. Some iconic figures are in high supply (Louis, Duke, Ella), but their iconic status keeps their value to at least a modest level. Iconic figures that died young (Bix, Bird, Trane, Billie) command very high prices. Then there are figures that died young that are only known to the ever-shrinking jazz market rather than the general public (Clifford, Lee Morgan, Wardell Gray, Christian, Fats Navarro). Their items are very rare, but prices aren’t at the level of the Bird, Trane items, possibly for this reason. Some more obscure figures command even less interest (Allen Eager, Wade Legge, Joe Albany, Freddie Webster).

The “what” factor values a photo, letter, or official document over a scrap of paper, napkin, etc. Until recently, a signed record album was not as valuable. However, this has changed lately, as evidenced by the recent Coltrane auction. I have seen some signed Miles Davis albums go higher than I would expect recently.

The one “signature” in my collection that turns out to be a fake is Art Tatum. There was a signed contract for chattel mortgage for a Plymouth automobile. The item came from Arline Tatum, Art’s sister. The address on the contract was his home in Toledo (I have been by the home). The signature was somewhat messy, and signed Arthur Tatum. I couldn’t let this slip by my hands, but have been suspicious. Over the years, with the help of databases on ancestry.com, I have seen a signature of Art Tatum, Sr., Art’s Father, on a marriage license, and WWI draft card, which matches the signature on my item. Further research of multiple contracts, a personal check, and Art Tatum, Jr.’s marriage license are all marked with an X. Oh well………………

Someone like you would understand the thrill of the hunt for items such as these. After a while, one becomes more selective and discerning, and don’t feel bad letting an item get away when the price is too high.

Bill

By the way, I enjoy your website.

My reply:

Fantastic. Do you mind if I post your reply on he site, preferably with your name?

I don’t go out of my way to collect autographs or other ephemera, but I am happy when I come across them. Among my most prized possessions is an copy of Sonny and Hawk, with the following signed by Sonny:

“12/13/63. To my friend at ‘A+ P’ with Holiday wishes to you & yours Sincerely Sonny R.”

A & P was a local supermarket chain. I also have an original 78 of Moody’s Mood For Love, signed by James Moody and am original Birdland program signed by Stan Getz.  — al

Basically, Dan said he’s had it with sniping software. In his humble opinion, it doesn’t work so well anymore and cannot be relied upon if there is anything that you really want. I’m curious if any of you buyers out there have had a similar experience and/or if there is a particular sniping solution that you would recommend. In any case, since the auction was closing at 8:24 p.m. my time, it would be no problem for me to be on line live so I could place a bid manually.

The next question was, how much to bid. The start price was $449. When I first wrote the post yesterday there were no bidders, but by the afternoon there was one bid at the start price. Perhaps if I had known I was going want to bid on the record/autograph, I wouldn’t have written about it, but by now it was too late. With just a single bidder and only 10 people watching the record, I figured I might be able to get it for $600 or so, which would have been acceptable to me. So Dan and I strategized. What would I be comfortable paying, and what would be over the limit?

I came down to about $750. Wouldn’t really want to pay more than that for a record signed to a guy named Morrie, but would feel OK paying that much as a birthday present to myself. So we came up with a number a little higher than that, lucky sevens: $777.77. I set the alarm on my iPad for 8:15 so I wouldn’t forget and by 8:17 I was sitting at the computer watching the countdown. There were no other bidders, just the one at $449, and still only 10 watchers. There was no action as the countdown continued. Four minutes, three minutes, two minutes, one minute. Still no action. I was feeling pretty confident, to be honest. I put in the bid and with 10 seconds left, I clicked “place bid.”

A few seconds later the answer arrived. I had been outbid. The initial bidder with the $449 bid had put in a reserve that was higher than my $777.77. The record/autograph sold for $787.77. As Dan said after the auction closed, I should get a commission for putting an extra $300 in the seller’s pocket. I don’t think there were any other bidders and, of course, I have no idea what the winning bidder’s top bid would have been.

In any case, I have no problems losing out on the record and I hope the winning bidder gets a lot of joy out of owning it. It was kind of exciting getting into the action again and not doing it with sniping software. Sitting at the computer, watching the action, waiting for the results. I can see how easily I could get hooked on doing this more frequently. Not sure if that is a good thing, or a bad thing or just a thing. I’ll keep you posted if/when it happens again.